Sound Devices 722

722
High Resolution Digital Audio Recorder
User Guide and Technical Information
ﬁrmware rev. 2.66
SATA
2.5" HDD

Sound Devices, LLC
300 Wengel Drive • Reedsburg, WI • USA
+1 (608) 524-0625 • fax: +1 (608) 524-0655
Toll-Free: (800) 505-0625
www.sounddevices.com
support@sounddevices.com

722 User Guide and Technical Information

Table of Contents
Quick Start Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Recording Time Calculation . . . . . . . . . . . . . . . . . . 34
Powering the Unit Uncompressed Recording Time in Track-Hours
Menu Navigation Basics MP3 Compressed Record Time in Hours
Connecting Audio Sources File Naming / Numbering . . . . . . . . . . . . . . . . . . . . 35
Routing Inputs to Tracks Scene Name/Number
Recording Parameter Setup Take Numbers
Recording Mono Track Name Designators
Playback Duplicate File Names
FireWire File Transfer
Wave Agent Beta . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Front Panel Descriptions . . . . . . . . . . . . . . . . . . . . . 6
Panel Lock File Management . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Folder Actions
LCD Display Descriptions . . . . . . . . . . . . . . . . . . . . 9 File Viewer Screen
Left Panel Connectors and Controls . . . . . . . . . . 11 File Time and Date
Right Panel Connectors and Controls . . . . . . . . . 12 File Size Maximum
Setting/Clearing Flag Bits
Back Panel Descriptions . . . . . . . . . . . . . . . . . . . . 13 Automatic Flag Clearing
Input Setup and Control . . . . . . . . . . . . . . . . . . . . . 14 File Copying Among Available Drives
Input Source Selection File Deletion
Analog Inputs False Take Control
Input Linking (Stereo or MS Decoding) Emptying the Trash and False Take Folders
Digital Input – AES3 Take Number Incrementing
Digital Input – AES3id (S/PDIF) Take List
Signal Presence and Peak Indicator Take Status
Input Delay Storage Medium – Internal Drive . . . . . . . . . . . . . . 44
Input-to-Track Routing . . . . . . . . . . . . . . . . . . . . . . 17 Formatting
Routing Drive Type
Selective Input Muting Drive Replacement
Sampling Rate and Bit Depth . . . . . . . . . . . . . . . . 19 Drive Failure
Sampling Rate Storage Medium – CompactFlash . . . . . . . . . . . . . 47
Bit Depths When to Use CF
Word Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Formatting
Testing
Clock Slave
Qualified CF Cards
C. Link – Multi-Unit Linking
Outputs – Analog and Digital . . . . . . . . . . . . . . . . 22 Storage Medium – External FireWire Drives . . . . 48
When to Use External FireWire Drives
Analog Output Bus
Formatting
Digital Output Bus
FireWire Bus Powering
Headphone Output . . . . . . . . . . . . . . . . . . . . . . . . . 23 Qualified Drives
Selecting Headphone Sources DVD-RAM Drives
Setting Headphone Source Options
File Transfer – FireWire . . . . . . . . . . . . . . . . . . . . . 50
MS Stereo Monitoring
Rotary Switch Behavior Powering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Headphone Favorite Selection Lithium Ion Rechargeable Battery
Headphone Playback Mode External Powering and Battery Charging
Headphone Warning Tones Time of Day Battery
Metering and Display . . . . . . . . . . . . . . . . . . . . . . . 25 Auto Functions with External Powering
Power-up Messages
Output Meter
Power Consumption Variables
Meter Ballistics
Peak LEDs Firmware Upgrades . . . . . . . . . . . . . . . . . . . . . . . . 54
Tone Oscillator Version Information
LCD Contrast & Backlight, LED Brightness Upgrade Process
LCD Gain Display CL-1 Remote Control and Keyboard Interface . . . 55
Record Indication Connecting the CL-1
24-Hour Time Counter . . . . . . . . . . . . . . . . . . . . . . . 28 Logic Inputs and Outputs
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Logic Inputs
Logic Outputs
Recording
Pre-Record Buffer Setup Menu Presets . . . . . . . . . . . . . . . . . . . . . . . . 58
Failure During Recording Built-In Presets
Record Pause Setup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Record Timer
Front Panel Button Shortcuts . . . . . . . . . . . . . . . . 67
Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
AutoPlay
Connector Pin Assignments . . . . . . . . . . . . . . . . . 68
Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . 32 Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
.WAV Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
.FLAC CE Declaration of Conformity . . . . . . . . . . . . . . . . 73
.MP2
.MP3 Software License . . . . . . . . . . . . . . . . . . . . . . . . . . 74
iXML Warranty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

1


Welcome
Thank you for purchasing the 722. The super-compact 722 records and plays back audio to and from
its internal hard drive or CompactFlash medium, making field recording simple and fast. It writes
and reads uncompressed PCM audio at 16 or 24 bits with sample rates between 32 kHz and 192 kHz.
It also writes and reads data compressed FLAC and audio compressed MP2 and MP3 files.
The 722 implements a no-compromise audio path that includes Sound Devices’ next generation
microphone preamplifiers. Designed specifically for high bandwidth, high bit rate digital recording,
these preamps set a new standard for frequency response linearity, low distortion performance, and
low noise.
With documentary and ENG recording engineers in mind, the 722 is very small, while still being fea-
ture-rich. No other recorder on the market matches its size and feature set. In addition, its learning
curve is quite short—powerful does not mean complicated. While the 722 is a very capable recorder
by itself, it truly excels when used in conjunction with an outboard audio mixer such as Sound
Devices’ own 302 or 442.
Sound Devices took advantage of the best in professional and consumer electronics technologies
to bring incredible feature depth with ease of use. Its two internal recording media (hard drive and
CompactFlash) and external FireWire storage are highly reliable, industry standard, and easily
obtainable. The removable, rechargeable battery is a standard Sony-compatible Li-ion camcorder
cell. The 722 interconnects with Windows and Mac OS computers for convenient data transfer and
backup.

722 Firmware Known Issues
For a complete list of known issues regarding the most current firmware please visit Sound Notes.
http://www.sounddevices.com/notes/recorders/known-issues/

Copyright Notice and Release
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any
means, electronic, mechanical, photocopying, recording, or otherwise, without the expressed written permission of SOUND DEVICES,
LLC. SOUND DEVICES is not responsible for any use of this information.
SOUND DEVICES, LLC shall not be liable to the purchaser of this product or third parties for damages, losses, costs, or expenses
incurred by purchaser or third parties as a result of: accident, misuse, or abuse of this product or unauthorized modifications, repairs, or
alterations to this product, or failure to strictly comply with SOUND DEVICES, LLC’s operating and installation instructions.
Microsoft Windows is registered trademarks of Microsoft Corporation. Macintosh is a registered trademark of Apple Computer. Other
product and company names mentioned herein may be the trademarks of their respective owners.
The sound waves logo is a registered trademark of Sound Devices, LLC.

2
v. 2.66 Features and specifications are subject to change. Visit www.sounddevices.com for the latest documentation.


Quick Start Guide
The 722 is an extremely powerful and flexible portable audio recorder. Before recording, familiarity
with the product is essential. Several settings should be verified or set based on individual recording
needs.

Powering the Unit
1. Apply power to the unit by connecting the (included) removable, rechargeable Li-ion (lithium ion) bat-
tery to the back panel battery mount. The metal tabs on the mount line up with the electrical contacts
on the battery. From the factory, the battery may not have a charge, so external DC may be needed for
initial operation and charging. Connect the included AC-to-DC power adapter to the DC input plug to
power and charge the removable Li-ion battery.
2. Press and hold the power key to power up the unit. To power down the unit the power button must be
held for one second.

If this is the first time the recorder has been powered, or if it has been without a battery for an ex-
tended period, the date and time may need to be set.

Charge the included Li-ion battery for 6 hours prior to initial use.

Menu Navigation Basics
The setup menu provides options for recording, routing, and control parameters. The single layer
menu structure allows for very quick navigation and selection of functions. To enter the setup menu
press the front panel key. Once in the setup menu, the following conventions are shared for
navigating among selections and to select specific parameters.
• - enters setup menu
• item - highlighted menu item
• - selects highlighted item or parameter
• - moves up in menu and between menu parameters
• - moves down in menu and between menu parameters
• - exits the selected menu or menu altogether
• The stop key will exit from any menu and cancel any changes. Use it to escape out of the
setup menus.
The right panel Rotary Switch (labeled “Select”) is a convenient control to quickly navigate among
menu items and item options. Its push-to-select function duplicates the check mark in most menus.

Connecting Audio Sources
1. Connect audio sources, either analog or digital, to the input connectors.
2. Set the appropriate input type and level—analog mic, analog line, or digital—with the adjacent slide
switch.
3. If mic-level inputs are used on XLR 1 or XLR 2, make certain that phantom power, input limiters, and
high-pass filters are activated, as required.

3


Routing Inputs to Tracks
Before recording, inputs must be assigned to tracks. Each of the 722’s two inputs can be assigned to
the two tracks (A, B). Sixteen possible routing combinations are shown on the front panel with four
blue LEDs. Illuminated LEDs indicate input-to-track assignment.
1. Press and hold the STOP key then press the INPUT key to cycle through factory routing pre-
sets. The 722 has four often-used presets for quick setup of input-to-track routing combinations. Note
the routing combinations on the blue LEDs with each successive press.
2. If none of the preset routing combinations are suitable, assign a custom routing. Sequential presses of
the input key will eventually cycle to the custom routing option (see Input to Track Routing, pg. 18).
From the custom input routing menu any input can be assigned to any track, including multiple inputs
assigned to a single track.
3. Press Exit to leave input routing mode.

If no input is assigned to a track the 722 will not record.

Recording Parameter Setup
For most productions, the general recording parameters of sample rate, bit depth, media selection,
and file format are changed infrequently. Enter the setup menu to verify recording settings. Sample
rate and bit depth are displayed on the LCD panel.
1. Select the bit depth as needed.
2. Set the sample rate as needed.
3. Select the file type, WAV mono or WAV poly, FLAC, MP2, or MP3.
4. Select the storage medium (internal hard drive, CompactFlash, external drive, or any combination of the
three) for recording.

Recording
Now that file basics are set, you are ready to begin recording. The 722 is a record-priority box. Press-
ing the record key cancels all functions—except file operations—and immediately starts recording
a new file. When record is pressed, the red record LED illuminates to confirm record mode. The
filename in the LCD display shows the currently recorded file. Push the stop (150 ms) key to
end recording.

Playback
When recording is stopped, the most recently recorded file is immediately available for playback.
Press the key to begin file playback from the beginning of the file.
To select a file for playback:
1. Press and hold the key to select the folder (directory) for playback, either internal hard drive or
Compact Flash. The default playback directory is the volume being recorded.
2. Use the Rotary Switch, or the arrow soft-keys, to navigate through the file directory.
3. Once a file is highlighted, press the play key to begin playback.

When playback has finished, the filename will begin flashing. Use the fast-forward key or
rewind key to step through files in the folder, or press the stop key to exit playback mode.

4


FireWire File Transfer

Sound Devices strongly recommends shutting down equipment before connecting to or from any
FireWire device with a connection that carries power (6-pin). Reports have come to our attention of
isolated problems when hot-plugging IEEE 1394 (FireWire) devices. (Hot-plugging refers to making con-
nections when one or more of the devices—including the computer—is on.) When hot-plugging, there are
rare occurrences where either the FireWire device or the FireWire port on the host computer is rendered
permanently inoperable. From our experience, any FireWire connection which carries power is susceptible
to this type of damage.

When connected via FireWire (IEEE-1394a) to a Mac OS or Windows OS computer (see Specifications
for computer requirements), the internal hard drive and connected CompactFlash storage mediums are
mounted onto the computer as “letter” accessible drives. Use the appropriate FireWire cable, either
6-pin to 4-pin or 6-pin to 6-pin, for interconnection. Files on the 722 can be treated as if they are local
files, including renaming files, copying, and playing directly from the 722 storage medium. No driv-
ers are required with operating systems meeting the specifications.

In general, it is good practice to copy all needed audio files from the 722 to a computer before any process-
ing is performed on the files.

To connect the 722 for FireWire transfer:
1. Stop all playback and recording activity.
2. Make certain the 722 battery is fully charged, or connect to external DC.
3. Connect the 722 to the host computer with a FireWire cable.
4. Initiate connection to the computer by accessing the FireWire: Connection menu option in the
Setup Menu. Select Computer/Connect or if this has already been selected simply hit STOP then the
HDD key to initiate a connection to the computer. The 722 will enter FireWire transfer, indicated by
FIREWIRE CONNECTION on the LCD display. All functions of the 722 are stopped while the 722 is con-
nected to a computer through FireWire.
5. Navigate to either the CF card or hard drive from the computer and copy all needed audio files to local
storage on the computer.

To avoid possible directory corruption on the hard drive, do not interrupt the connection process and
always properly dismount the drives from the operating system. On Mac OS platforms, drag the drive
icons to the trash. On Windows platforms, use the “Disconnect External Media” icon in the system tray.

Dismount the 722 after file transfer by “ejecting” the volume from the computer. In Mac OS, drag the
disk icon from the desktop to the trash or hit -e. In Windows OS, highlight the disk icon, right-click,
and select “eject”. It is best practice to “eject” the 722 volume from the computer to maintain file
integrity (see FireWire File Transfer).

5


Front Panel Descriptions
All settings of the 722 can be accessed and monitored through the front panel LCD and navigation
keys. This allows the unit to be placed in a production bag along with field mixers and wireless
transmitters and receivers.

1 2 3 4 5 6 7 8 9 10 11
12
29

28

27

26

25
24 23 22 21 20 19 18 17 16 15 14 13

1) Digital Input LEDs 6) Tone Oscillator
Indicates the presence of digital signal Press to activate the tone oscillator, press
on the respective input. When flashing, and hold for two seconds or longer to
indicates that digital input is selected latch on, press again to deactivate. Fre-
but no valid digital clock signal is pres- quency, tone level, and routing are con-
ent. trolled in the Setup Menu. When in the
Setup Menu use the TONE key to enter
2) Input 1 Gain Setup Menu options and select parame-
Controls the analog gain (input trim) of ters when the check mark appears in the
the channel 1 input. Normal mic input upper right hand corner of the LCD.
range is from 25 dB to 70 dB, low gain
mic range is from 10 dB to 55 dB, line 7) Input-to-Track Matrix LEDs
input range is from −6 dB to 18 dB. For Blue LEDs indicate inputs (1 and 2)
line-level inputs, this control can be enabled for recording to tracks (A and
defeated and gain can be setup menu- B). A solid blue LED indicates an input
controlled. If the LCD display shows is routed to a track. A flashing LED dur-
“locked” when the pot is turned, gain ing “custom” routing mode shows the
control of the line-level input is menu- selected input/track combination.
controlled. When inputs are linked as
a stereo pair, Input 1 Gain controls the 8) INPUT Select Key
gain of both inputs. Pressing the INPUT key brings up the
input muting and routing menu. Hold
3) Input 2 Gain down the INPUT key and press one
Controls input 2 gain, as in #2 above. of the two indicated soft keys to mute
When inputs are linked as a stereo pair, inputs. Pressing the STOP key and the
Input 2 Gain controls left-to-right bal- INPUT select key cycles through the
ance. six factory preset input-to-track routing
combinations plus the custom routing
4) MENU Key menu. In the custom routing menu any
Used to access all 722 setup menu selec- input can be routed to any track. See
tions. When in menu mode, used to Input-to-Track Routing, page 18.
move up through the menu selections.
9) Level Meter LEDs
5) LCD Display Two, 19-segment track level-meters indi-
Primary display of 722 status. The LCD cate level in dBFS. Metering ballistics are
is backlit using the LCD backlight con- selected in the setup menu.
trol (#15).

6


10) Power Key 16) Fast Forward Key
Press and hold to power up the 722. Performs fast-forward (FF) scrubbing
Press and hold to power down. through the played file when pressed in
playback and play-pause mode. Play-
11) Charge LED pause indicated by flashing A-time on
Indicates the status of the onboard LCD. Fast forward rate increases the lon-
battery charger. Flashes when exter- ger the key is held. In play-stop mode
nal power is connected and battery is (indicated by flashing filename on LCD)
charging; solid when battery is fully selects the next file in the record folder
charged. (either daily folder or main folder).

12) Power LED 17) Play Key
Indicates that the 722 is powered and Plays back the file displayed in the LCD.
available for operation. Flashes when If pressed immediately after recording is
the removable battery or external DC is stopped, the most recently recorded file
in a low-voltage state. is played back.

13) Record Key 18) Rewind Key
Used to start recording. The 722 is a Performs reverse (REW) scrubbing
record-priority device, pressing this key through the played file when pressed in
starts recording and discontinues all playback and play-pause mode. Play-
other functions, except file operations. pause indicated by flashing A-time on
Pressing key while recording can set a LCD. Reverse playback rate increases
cue marker or start a new file, as select- the longer the key is held. In play-stop
ed in the setup menu. mode (indicated by flashing filename
on LCD) selects the previous file in the
14) Stop/Pause Key record folder (either daily folder or main
Press and hold this key for 150 ms to folder).
stop recording. In Record Pause mode
the STOP key will pause the recording, 19) HDD Key (File Viewer)
pressing it twice will finalize the record- Press to enter the File Viewer. Any avail-
ing. In playback mode, a single press able drive, folder, and valid audio file
pauses playback (play-pause), allowing will appear in the file listings. Selected
audio scrubbing with the FF and REW drive is shown in white type. Press-and-
keys. Another press of the key enters hold to toggle between available drives.
play-stop mode where the FF and REW If only one drive is present, press-and-
keys select files for playback from the hold is disabled.
current directory. One more press of the
key exits playback mode. In the setup 20) Headphone Output Peak LED
menu the stop key is also used to exit Indicates overload of the headphone
from any menu, returning to the main amplifier. When lit, the headphone cir-
display. cuit is overloading. Reduce headphone
level.
15) LCD Backlight Key
Press to toggle LCD and keyboard 21) LIM LED
backlighting. Hold the key and turn the Indicates that the microphone input
Rotary Switch to adjust the brightness of limiters are engaged. This LED does not
LEDs. In menu mode, functions as the show input limiting activity (see descrip-
cancel key. tor #27, Microphone Input Limiter LEDs).

7


22) Link LED 26) Phantom Power LEDs
Indicates that channels 1 and 2 are Indicates that phantom power (48 volts)
linked as a stereo pair. In link mode the is active for the individual input. Phan-
channel 1 potentiometer controls gain, tom can be applied to microphone or
channel 2 potentiometer controls left- line-level signals (menu-selected).
to-right balance. Inputs can be linked as
either a stereo L/R pair or as a a Mid- 27) Microphone Input Limiter LEDs
Side (MS) pair. Illuminates orange when limiting is
occurring on the microphone input. If
23) Media Ready LEDs constantly lit, the microphone input is
Indicates storage media is present and being “hit” with too high of a signal.
available to record; IN (internal hard Turn down the input sensitivity until
drive), CF (CompactFlash), EX (exter- limiting occurs infrequently.
nal FireWire drive). Flashing indicates
media problem. 28) Input Signal Presence LEDs
Indicates presence of analog or digital
24) Media Activity LEDs signal and its relative level on each of
Indicates storage media read/write the two inputs.
activity. IN (internal hard drive), CF
(CompactFlash), EX (external FireWire 29) Input Peak (Overload) LED
drive). Indicates analog signal is approaching
clipping (–3 dBFS) on each of the two
25) High-Pass Filter LEDs inputs. Also used to indicate that an
Indicates that the high-pass (low-cut) input is muted.
ﬁlter is active for the input. High-pass
only operates when the input is set to
microphone level.

Panel Lock
Press and hold the backlight key then the tone key to bring up the front panel Button Lock Screen.
Button lock prevents unintentional changing of settings or record status. The 722 displays any but-
ton lock options enabled.
select the soft buttons to
activate the appropriate
button lock mode

There are three modes:
• Unlocked – all buttons are accessible and operate normally.
• Non-Transport Lock – All front panel controls are locked except the Record, Stop, Play, Re-
wind and Fast Forward.
• Lock All – All front panel keys are locked except the Record key. The Record key is kept ac-
tive so the user can initiate recording after entering this mode and enter cue markers. To stop
recording in this mode, you must disengage the panel lock and hit the stop key.

8


LCD Display Descriptions
1 2 3 4

5
10
6
9

8 7

1) Battery Level Indicator 7) Headphone Source Display
Shows the voltage level of the remov- Indicates the source for headphone out-
able rechargeable battery or external put. Sources and selection order are user
power sources. External power over- selectable in the setup menus.
rides internal power when present.
Graphical bar for relative level and 8) External Drive Status
numeric indicator for precise voltage (space remaining/record ready)
measurement. Bar graph indicates amount of record
time remaining on the external FireWire
2) File Name Display volume. Numbers show time in hours
Shows file name actively being recorded and minutes based on the presently se-
or played back. In playback-stop mode, lected number of record tracks, sample
flashing file name indicates that the fast- frequency, bit rate, and file type. An as-
forward and rewind keys can be used to terisk next to any of the available drives
step through files in the current play- indicates that it is selected as a destina-
back directory. tion for recorded audio.

3) Absolute Time (A-time) Display 9) Internal Hard Drive Status
Shows the elapsed time of the file be- (space remaining/record ready)
ing recorded or played back. Flashes Bar graph indicates amount of record
in playback pause mode. In this mode time remaining on the internal hard
the FF/REW keys will scrub through drive. Numbers show time in hours and
an open audio file. This display can be minutes based on the presently selected
set to reverse or flash during recording. of number of record tracks, sample fre-
Flashes in playback-pause mode. The quency, bit rate, and file type.
A-time and the 24-Hour Time Counter
display can be exchanged if a large 24- 10) CompactFlash Status
Hour Time Counter display is needed. (space remaining/record ready)
Bar graph indicates amount of record
4) Time & Date Display time remaining on the CompactFlash
Alternating display between the set date media. Numbers show time in hours
and time of the 722. This information is and minutes based on the presently se-
written as the creation and modification lected number of record tracks, sample
date for generated audio files. frequency, bit rate, and file type.
5) Bit Depth Indicator
Shows the set record bit depth. In play- For all three media types, an asterisk in front
back, shows the file bit depth. of the media descriptor indicates that the
media is selected for recording. Highlighted
6) Sample Rate Indicator drive descriptor indicates drive selected for
Shows the set record sample rate. In record monitoring, playback or file directory
playback, shows the file sample rate. display.

9


13

12

11 14

11) 24-Hour Time Counter 13) Cue Marker Display
24-Hour time is displayed In record mode, indicates when cue
when the Setup Menu option markers are set. Markers set by pressing
Time Counter: Mode is set to 24h. the record key (option must be selected
The A-time and the 24-Hour Time in setup menu). In playback mode, dis-
Counter display can be exchanged if plays cue points numerically as they are
a large 24-Hour Time Counter display reached in a ﬁle.
is needed. See 24-Hour Time Counter for
details. 14) External Digital Clock Indicator
The 722 is locked to a valid external
12) Input 1/2 Level digital or word clock source when the L
When input 1 or 2 gain is turned this is in the display.
indicates the gain level in dB for inputs
1 and 2. Gain levels can be selected to
always be displayed in the Setup Menu
option LCD: Gain Display. Normal
mic input gain range is from 26 dB to
70 dB, low gain mic range is from 10 dB
to 50 dB, line input range is from −6 dB
to 18 dB. “Locked” will be displayed
on the LCD when the pot is turned
with digital inputs selected or with line
inputs set to menu control.

10


Left Panel Connectors and Controls
3 4 5 6

1 2 8 7

1) XLR Input 1/AES3 Input 1&2 5) TA3 Master (L/R) Analog Outputs
Dual function input connection. Input Active-balanced, line-level analog L/R
type set with switch (see #3). Active-bal- outputs for the Master Analog Out-
anced analog microphone- or line-level puts. Program source and attenuation
input for input 1. Transformer-balanced level are user selectable. Pin-1 ground,
two-channel AES3 input (1 and 2). pin-2 (+), pin-3 (–).

2) XLR Input 2 6) Headphone Output
Same as Input 1 above for analog sig- 3.5 mm TRS stereo headphone connec-
nals. Input type set with switch above. tor. Can drive headphones from 8 to
Active-balanced analog microphone- or 1000 ohm impedances to required levels.
line-level input for input 2. Tip left, ring right, sleeve ground.

3) Mic-Line-AES3 Input Switch 1 7) Headphone Volume
Selects the input level and mode of the Adjusts the headphone volume. NOTE:
input XLR 1 connector. the 722 is capable of producing ear-dam-
aging levels in headphones.
4) Mic-Line Input Switch 2
Selects the input level, mic- or line-level 8) Tape Output
of input XLR 2. NOTE: there are two re- Unbalanced tape (–10 dBV nominal)
dundant switch positions for line-level. output on 3.5 mm TRS stereo connector.
Signal source is identical to the Master
Output Bus. Tip left, ring right, sleeve
ground.

11


Right Panel Connectors and Controls
1 2 3

7 6 5 4

1) AES3id Input 5) Word Clock Input and Out
Unbalanced digital input accepts two Provides clock input and output for the
channel AES3 (or S/PDIF) on BNC con- 722. Word input accepts sample rates
nectors. Supports sample rates up to 200 between 32 kHz and 192 kHz. Word
kHz. clock output is the rate that box is run-
ning. There is no sample rate conversion
2) FireWire (IEEE-1394) Port utility in the 722.
Connection to a computer (Mac OS,
Windows 2k/XP, Vista, Linux) to access 6) AES3id Output
the internal hard drive and Compact- Unbalanced digital output, two-channel,
Flash volumes as mass storage devices. for Output Bus 2. Signal source is menu-
Also used to attach external FAT32- selected.
formatted FireWire drives to the 722 for
direct recording and copying. 7) Rotary Switch
When in the Setup Menu, the Rotary
3) C. Link In/Out Ports Switch moves among menu items; push
RS-232 protocol interface on 6-pin to enter a selection or to enter data. In
modular (“RJ-12”) connector for link- record and playback modes, rotate to
ing multiple 7-Series recorders together. select headphone monitor source; push
Word clock and machine transport are action is user selectable.
over C. Link.

4) External DC In
Accepts sources of 10–18 volts DC for
unit powering and removable Li-ion
battery charging. The Hirose 4-pin con-
nector is wired pin-1 negative (−), pin-4
positive (+). Pin-2 (−) and pin-3 (+) are
used to charge the removable Li-ion
battery. DC ground at both pins-1 and
2 is at the same potential as chassis and
signal ground.

12


Back Panel Descriptions

1 2 3 4

1) Security Slot 3) Battery Mount
Compatible with the Kensington® Secu- Accepts Sony® InfoLithium L- or M-
rity Slot speciﬁcation. Useful for secur- Series removable rechargeable batteries,
ing the recorder to a ﬁxed object with a or batteries conforming to this mount.
compatible computer lock. Numerous capacities, from 1500 mAh to
7000 mAh are accommodated.
2) CompactFlash Slot
Accepts CompactFlash medium with the 4) Battery Release Pin
label-side up. Compatible with Type I, Push down the pin with a long skinny
Type II, and MicroDrives. object such as a key, screwdriver, or a
pen. With the pin pushed in, slide the L-
or M-Series battery to the right to release
the battery

13


Input Setup and Control
The 722 has two inputs and two record tracks. Inputs are selectable between analog or digital sourc-
es. Analog inputs are connected with the balanced XLR connectors; digital inputs can be connected
to either XLR Input 1 (AES3) or the BNC input (AES3id).

Input Source Selection
Input types are selected in pairs. Each input pair accepts analog or digital audio. The XLR input
signal is selected with slide switch above the connector.
Manually selecting the audio source is used to force the inputs to analog while using an AES3 or
AES3id input to lock the 722 to an external sample rate.
Digital sources connected to AES3id BNC inputs override analog signals on the corresponding XLR
input. The BNC input signal type is set in the menu settings Input 1,2: Source. For most situations
the appropriate setting is auto select—the 722 will choose the input type based on signal present.
The 722 is capable of off-speed sample rates when clocked from either external digital inputs or the
word clock input.
Input sources can be set to “disabled (power save)”. This option shuts down all circuitry associated
with the inputs to reduce power draw and extend battery runtime during playback. When an input
pair is disabled, the digital input LEDs associated with the pair will ﬂash.

Analog Inputs
Analog inputs 1 and 2, on XLR connectors, are the primary connections into the recorder. These
inputs accept balanced or unbalanced mic- or line-level inputs. When at mic-level, gain is controlled
by the front panel potentiometers. Gain for the line level inputs can be controlled by the front panel
potentiometers or menu settings. Line input gain is controlled in 0.1 dB steps.

A digital input present on the BNC inputs will override an analog signal present on the XLR inputs un-
less the input source is set to analog in the setup menu.

In the setup menu, the following functions can be controlled for analog inputs 1 and 2:
Phantom Power
Phantom power (48 volts) can be activated for inputs 1 and 2. When active, phantom is indicated by
front panel LEDs ( ).

Phantom power is available for both mic- and line-level inputs. Using line-level inputs with microphones
is useful in high SPL environments such as concert recording. Make certain to turn off phantom power
with line level output devices susceptible to damage from DC.

Shortcut: To toggle phantom power without entering the menus, press and hold the tone key then
press the menu key for channel 1. Channel 2 phantom can be toggled by pressing the tone key then
pressing the HDD key. If the inputs are in line level mode, phantom power will not activate from the
shortcut keys and must be activated from the menus. Phantom power is linked when the inputs are
linked. (See Input Linking)
Input Limiters (mic-level only)
Microphone inputs 1 and 2 each have a limiter circuit designed to prevent input overload. In nor-
mal operation, with proper gain settings, the limiters should rarely engage. When activated, these

14


limiters will prevent unusually high input signal levels from clipping the analog input stage of
the preamp. The front panel LIM LED ( ) shows that the limiter is engaged. Limiter activity is
indicated by additional front panel LEDs, one for each input channel ( ). The input limiters are
active only with mic-level inputs. The limiters are engaged by (factory) default.

When limiters are engaged, audio on channels 1 and 2 is limited to −6 dBFS.

Microphone Level Control
Microphone gain is controlled by the front panel recessed knobs. The gain control adjusts an analog
gain stage and functions similarly to the input trim on a mixing console or stand-alone microphone
preamplifier. Gain is controllable over two ranges, normal and low.
Gain Range (microphone-level only)
The microphone inputs operate in four gain ranges, normal, normal fades to off, low,
and low fades to off. The normal range controls input gain from 24.3 dB to 67.4 dB of gain.
The low range controls input gain from 9.3 dB to 52.4 dB. The low ranges are useful for high
SPL recording environments. The fade to off options allow for fader-like control of your gain.
Normal fades to off provides a gain range of off or 0 to 67.4 dB and low fades to off pro-
vides a gain range of off or 0 to 52.4 dB.
High-Pass Filters (microphone-level only)
The high pass filters on the microphone inputs use a combination of analog and digital filters to re-
duce sensitivity to low frequency signals. When the high-pass is engaged on an input, its front-panel
LED illuminates to indicate it is active ( ). The first pole of the high-pass circuit is an analog filter
at 40 Hz, 6 dB per octave and is part of the microphone preamplifier circuit. Additional poles of
high-pass filtering are done in DSP.
Several frequency and slope combinations are selectable, including corner frequencies of 40, 80, 160,
or 240 Hz, and filter slopes of 12 dB, 18 dB, or 24 dB per octave. The high-pass is selected for each
input independently.
Shortcut: The filters can be toggled with a two-key combination. Press and hold the LCD back-
light key and press the menu key for channel 1 high-pass. Press and hold the LCD backlight
key and press the HDD key to toggle channel 2 high-pass. The high pass filters are linked when
the inputs are linked. (See Input Linking)
Line-Level Gain Control
When in line-level position, the gain for inputs 1 and 2 is controlled by the front panel recessed
potentiometers or by a menu sensitivity setting. When set for front panel control in the user menu,
Line Input 1: Gain and Line Input 2: Gain controls in the user menu are lined out and not ac-
cessible.

Input Linking (Stereo or MS Decoding)
Analog inputs 1 and 2 can be linked as a stereo pair. When linked, the channel 1 front panel potenti-
ometer controls the signal level of both inputs, and the channel 2 pot controls the left-to-right balance
of the pair. When the inputs are linked, their peak limiters are linked, as well.
When set to link as an MS pair, the inputs are decoded as left/right stereo, where the gain and bal-
ance for the pair work the same as stereo linking above. Input 1 is for Mid signal, input 2 for Side
signal.
When the inputs are linked, phantom power and the high pass filters also act as linked pairs. Engag-
ging and disengaging phantom power or the high pass filters on input one will force the same func-

15


tion upon input two. Engaging or disengaging phantom power or the high pass filter on input two
causes no effect on input one.

If MS stereo linking is selected for inputs, program sent to tracks and headphones will be L/R stereo pro-
gram. To record discrete M and S signals, do not link for MS, but monitor the MS signal in headphones.

Things to consider when Linking Input 1,2 as MS:
• Digital Inputs cannot be linked as an MS pair.
• If linking Line Inputs as an MS pair, the Setup Menu option Line Input 1,2: Gain Ctrl
must be set to Use Front Panel Knobs.

Digital Input – AES3
The 722 accepts AES3 (AES/EBU) balanced digital at the input 1 XLR connector. Digital input is two-
channel—AES3 signals on XLR-1 appear at inputs 1 and 2. To use the AES3 input, the input mode-se-
lect switch must be set to AES/EBU. There is no level control for AES inputs.

The front panel digital input LEDs illuminate when digital signal is selected as input. If the
LED is flashing, digital input is selected but a no valid digital clock is being received.

Digital Input – AES3id (S/PDIF)
The 722 accepts AES3id and S/PDIF unbalanced digital signals on the BNC connector. The 722 will
auto detect the type of digital signal and adjust accordingly. Like AES3 signals, this is two channel
input. There is no level control for AES3id inputs.
AES3id inputs override analog signals present at the XLR inputs. To use analog sources while using
the AES3id signal as a digital clock source, select analog in the input source menu selection.
When a digital signal is present, the 722 locks its sample rate to its source frequency. This lock is indi-
cated by a highlighted block on the main LCD display to the right of the bit depth and sample rate
indicators. Recording bit depth is independent of the external digital source.
When locking the 722 to an external digital signal, be certain the source is stable. Loss of digital
signal will cause the 722 to revert to its internally set sample rate, even while recording. The portion
of the file recorded after the loss of signal may not play back properly. Once recording has begun,
unused digital inputs are muted, digital signals that appear on them after the record key has been
pressed will not be recorded or affect the sample rate of the 722.

The 722 clocks itself to the first digital signal presented to it. If the 722 detects a digital signal on the
BNC inputs and locks to that signal, a digital signal applied to the XLR input will be ignored until the
first digital signal is removed.

Signal Presence and Peak Indicator
The signal presence and peak indicators show audio activity before input-to-track routing. In-
put signal presence LED’s illuminate when a –50 dBFS or greater signal is present. Input signal peak
LEDs illuminate when signal levels reach –3 dBFS or greater.

Input Delay
A digital delay is selectable on each channel of the 722. Delay time per input is selectable in tenths of
a millisecond (0.1 msec) steps. The Rotary Switch and menu arrows are accelerated. The more you
press or spin, the faster the time setting will increase or decrease. Delay is not set until the Rotary

16


Switch is pressed or or the check mark is selected. The amount of delay available is dependent on the
sampling frequency in use.

Sample Frequency Maximum Amount of Delay Available (per input)
32, 44.1, 47.952, 48, 48.048 kHz 30 mS
88.2, 96, 96.096 kHz 15 mS
176.4, 192 kHz 7.5 mS

Input delay can be useful for time aligning input signals from differing sources. For example, digital
wireless mics that have a processing delay in their outputs. In addition, all digital conversion stages
have delay.

Input-to-Track Routing
The 722 uses a ﬂexible routing scheme to assign inputs and tracks for recording. The input matrix
allows any input to be routed to any recording track. Multiple inputs can be routed to a single track
to create mono-mixed recordings.
The 2-by-2 blue LED matrix makes it easy to view the set routing. A solid blue LED indicates an
input is assigned to a record track.

inputs can be routed to
tracks in any of sixteen
possible combinations

Pressing the INPUT key brings up the following menu.

Routing
Hold down the STOP key then press the key to cycle through the four preset input-to-track rout-
ing combinations. These presets are factory set and cannot be changed. The last three preset selec-
tions are Custom Route options. Press the EDIT soft key to enter the custom routing menu. Custom
routing allows any input to be assigned to any record track. In the menu, highlighted input and track
combination are displayed in white text. The two inputs are shown on the left; the two record tracks
are shown on the right.

17


To assign custom input routing:
1. Press the input key until Input Routing is displayed in the LCD display.
arrow indicates highlighted
input is assigned to high-
lighted track
select to exit menu and
apply selected routing

selet to move up
and down menu
select to remove
input assignment

2. Press the EDIT soft button ( ) and scroll to the appropriate input screen.
3. Using either the Rotary Switch or the up and down arrows, navigate to desired input-to-track combina-
tions.
4. When a chosen pairing is highlighted press either the ASSIGN soft key or the Rotary Switch to assign
the combination. Assigned tracks are noted on the screen by the addition of an arrow pointing to the
record track. The LED routing matrix will also show a flashing blue LED for the currently selected
input-to-track combination.
5. Once a track is assigned move to the next input-to-track combination desired.
6. To remove an input-to-track combination assignment, navigate that combination and press the
UNASSIGN soft key.
7. Exit and complete the assignment by pressing the check mark soft key.

The input routing menu will always exit to the main screen whether entered from the input key or the
menu selection.

Selective Input Muting
When the INPUT key is pressed, individual input muting is available. This feature can be used to
quickly mute microphones while maintaining their respective track assignments.
Indicates that an input is avail-
able for routing.

No indication here shows that
an input is muted.

A solidly lit input Peak LED indicates that an input is muted.

A solid illuminated Peak
LED indicates that an
input is muted

Mono- and polyphonic files behave differently when selective muting is applied. When monophonic
files are selected, files from tracks A and B are named with the suffix “_1 and _2” respectively. If, for
instance, track A is muted but trackB is still selected, the resulting file will be named with the suffix
“_2” and track A will not be recorded, saving storage space.
When polyphonic file type is selected in the same scenario as above with track A muted, the result-
ing data file will be a two-track file with track A being a blank track. Blank tracks in polyphonic files
take up the same amount of storage space as tracks that are assigned.

18


Sampling Rate and Bit Depth
When recording the 722 generates uncompressed PCM audio WAV files in the Broadcast Wave File
format at the user-selected sampling rate and bit depth. The 722 LCD calculates available recording
time based on the sampling rate, bit depth, number of tracks set for recording and the selected stor-
age media available capacity. See the Calculating Recording Time later in this guide to estimate record
time.

Sampling Rate
When a sampling rate is selected for recording, all tracks are recorded at the selected sampling
rate. Sampling rates are selected among common rates from 32 kHz to 192 kHz. Additionally,
non-standard sampling rates can be applied when the 722 is word clocked from an external source
(clock sources between 32 kHz and 192 kHz). When recording off-speed sampling rates files will be
stamped with the rate closest to an internally generated frequency.

Relationship Between Sampling Frequency and Audio Bandwidth
The sampling frequency is expressed in samples per second (in hertz) and defines the number of
times in a second that the analog audio signal has been measured. Sampling frequency determines
the audio bandwidth, or frequency response, that can be represented by the digital signal. A quick
estimate of the maximum bandwidth capable of being represented at a given sampling rate is maxi-
mum analog frequency = sampling frequency/2. Higher sampling frequencies allow for wider audio
bandwidth.
The 722 generates the following sampling rates:
• 32 kHz • 88.2 kHz
• 44.1 kHz • 96 kHz
• 47.952 kHz • 96.096 kHz
• 47.952kF - file stamped at 48 kHz • 96.096kF - file stamped at 96 kHz
• 48 kHz • 176.4 kHz
• 48.048 kHz • 192 kHz
• 48.048kF -file stamped at 48 kHz

Bit Depths
The 722 records at bit depths of either 16 or 24 bit. 24 bit recording provides greater dynamic range
and addition headroom for signal peaks relative to 16 bit recordings. 24 bit recording (versus 16 bit)
is a significant benefit for field production audio tracks.
Bit Depth = Available Dynamic Range
Bit depth defines the digital “word length” used to represent a given sample. Bit depth correlates to
the maximum dynamic range that can be represented by the digital signal. Larger bit depths accom-
modate more dynamic range. A quick estimate of maximum dynamic range capable of being rep-
resented by a given word length is dynamic range ~= no. of bits x 6 dB. Bit depth is an exponential
measure (exponent of 2), so as bit depth increases, the amount of data it represents increases expo-
nentially. The majority of field recording is done with 16-bit audio, therefore, each sample is rep-
resented by a digital word of 2^16 (65,536) possible values. 24-bit audio has a word length of 2^24
(16.7 million) possible values per sample.

19


The 722 has 24 bit analog-to-digital converters. To obtain 16 bit recording the 722 can be set to dither
24 bit digital signals to 16 bit. The 722 uses a proprietary pseudo-random dither routine for accurate
bit rate reduction. Dither can be defeated in the user menu. Without dither, 24 bit audio is truncated
to 16 bit, meaning the least significant 8 bits are discarded.

Once a file is recorded its sampling rate and bit depth can not be changed in the recorder. The 722 does
not perform sample rate conversion or bit depth changes. File conversion must be done in another en-
vironment, such as an audio workstation. Alternatively, a real-time analog transfer is often performed
instead of sample rate conversion.

Word Clock
Stable word clock is fundamental to high quality a digital audio signal. The 722 uses a highly-stable
crystal to generate its internal word clock frequencies. The 722 can clock external devices from its
word clock and accept external clock sources for recording.
The 722 disregards external clock, both AES and word clock, during playback.

Clock Master
When sending digital audio to several devices, one unit is designated as the word clock master and
the others as slaves. Generally, the device with the analog-to-digital converter is designated as the
word clock master.
The 722 can function as an A/D converter and can be used as the master word clock source. Slaved
devices will derive their word clock timing from either their digital audio inputs, S/PDIF or AES/
EBU, or through their word clock input connection. As a word clock master the 722 generates word
clock whether or not audio is sent.

Clock Slave
When using an external digital preamplifier connected to the 722 inputs, the recorder can derive its
clock signal from the AES (S/PDIF) stream (it will slave to the external device), or the external device
can be slaved from the 722 (if the external device has word clock input or accepts clock from the
722’s digital output). If, for example, you are using a wireless receiver with a digital output, it may
not have an external word clock input, and will be the word clock master.
If digital audio is connected to the 722 from more than one digital device, you must word clock the
sources to the same clock, otherwise variations between the sources will render their signals unus-
able.
If the 722 is slaved to external word clock, be certain that the source is stable. Loss of the word clock
signal during recording can cause the 722 to revert back to its internally set sampling frequency. If
this occurs, the portion of the file recorded after the loss of word clock may not play back at the prop-
er speed. For reliability, set the 722 to the same sample frequency as the word clock source. Loss of
the word clock signal in this case will likely cause a glitch in the file, but the file may still be usable.

20


C. Link – Multi-Unit Linking
The proprietary C. Link (control link) connection allows multiple 702, 702T, 722, and 744T record-
ers to be connected and clocked together. C. Link also enables connection to external keyboards and
switch contacts using the CL-1 Remote Control and Keyboard Interface.
When linked, 7-Series recorders have a master/slave relationship. The master recorder and the slave
unit will share sample accurate start and stop record times. Multiple units can be daisy-chained
together to record many tracks. The C. Link protocol links carries the following data:
• word clock
• time code information (702T and 744T only)
• RS-232 machine transport data

master slave slave
unit unit unit

To link units:
1. Connect multiple units as shown in the illustration.
2. Set all linked recorders to the same sample rate, bit depth, file format, and time code frame rate (for
702T and 744T recorders). This will ensure that all files generated are compatible.
3. Set scene and take numbers on all linked recorders to the same starting file name. There is no file name
synchronization with multiple unit linking.

When linked, record start and stop on slave units will not affect units “above” it in the linked chain.
This makes it possible for units to get out of synchronization if a unit other than the master is set to
record or stop. Using the master unit will assure that all machines begin and end recording together.
Master/Slave relationships between C.Linked recorders is established immediately after the C.Link
Out to C.Link In connection is made. To reverse the Master/Slave relationship, power down all
recorders, establish the new Master/Slave relationships by reconnecting the C.Link Out to C.Link In
connectors in the desired sequence, then power on all units in order of their Master/Slave relation-
ships

The C. Link jack is a proprietary RS-232 port. Under no circumstances should analog or digital telephone
lines be connected to either jack. Serious damage could result.

21


Outputs – Analog and Digital
The 722 has two discrete output buses, the Analog Output Bus (Bus 1) and the Digital Output Bus
(Bus 2). Each side (left and right) of the two-channel buses are assigned their audio sources indepen-
dently, enabling the 722 to feed multiple audio devices with unique program content.
The chart below shows the audio sources available for the analog and digital output buses. The au-
dio source for each output is selected in the setup menu.

Available Output Sources Description
Inputs are assignable for each channel of the output bus.
Input 1
Input 2 When inputs are selected as the source for the outputs, the state of recording or playback activity has no
effect on the output signal. This allow uninterrupted input audio at the output.

Track A Track assignments and playback audio.
Track B
Input 1,2 Multiple inputs are summed with these selections.
Track A,B Multiple track assignments are summed with these selections.

Analog Output Bus
Audio signals routed to the Analog Output Bus (Bus 1) are sent to three output connections:
• analog line out, TA3 x 2, two-channel
• analog tape out, 3.5 mm TRS, two-channel
Analog Line Out L, R
The analog line outputs are active-balanced line-level signals on Switchcraft TA3M locking connec-
tors. The output level is a nominally 0 dBu at −20 dBFS. The level of the line output can be attenuated
in the setup menu by up to 40 dB in 1 dB increments. Attenuation is done as an output pair.
Analog Tape Output
The tape output connection is stereo, unbalanced consumer output level (–10 dBV) on a TRS 3.5 mm
connector. Output attenuation affects this output level.

Digital Output Bus
Just as with the Analog Output Bus, the Digital Output Bus (Bus 2) can be assigned signal sources
from inputs or tracks. Sources assigned to the Digital Output Bus are exclusive and do not affect the
assignments to the Analog Output Bus or headphone assignments. The same signal sources available
for the Analog Output Bus are available for Digital Output Bus (see chart above).
The Digital Output Bus appears solely on the AES3id BNC output connector. The unbalanced
AES3id output is directly compatible with most S/PDIF inputs.

The format for the AES3id output is selectable between professional AES and SPDIF. In either case
the SCMS bit is not set.
The maximum output level is 0 dBFS and can be attenuated in the setup menu in 1 dB increments by
40 dB.

22


Headphone Output
The 722 headphone output is a flexible tool for monitoring audio in the field. The 722 allows the user
to monitor inputs, tracks, and post-record tracks in a number of combinations. MS stereo monitoring
is also available in headphones.
The headphone output is independent of the Master Output Bus and the Output Bus 2—audio
sources can be routed to headphones independent of routing assignments to output buses.

The 722 is capable of driving headphones to extremely high sound pressure levels. Hearing experts advise
against exposure to high sound pressure levels for extended periods.

Selecting Headphone Sources
The headphone source display on the main LCD screen ( ) shows the audio sources sent to
headphones. The 722 comes from the factory with several preset headphone audio source selections
available on the Rotary Switch. These selections include inputs, tracks and track monitors. Turn the
Rotary Switch to select among the available headphone monitoring sources.
Track Monitoring While Recording (Confidence Monitoring)
The 722 can monitor actual recorded audio written to the internal hard drive or CompactFlash dur-
ing recording. This is commonly referred to as “confidence monitoring”. To monitor recorded tracks,
during recording select one of the track monitor modes. Because of the record buffering topology
of the 722, a delay of up to 12 seconds can be expected before recorded audio appears at the output.
The 722 will play back recorded audio from the media highlighted on the LCD panel (see File Man-
agement and Copying for more information on selecting and highlighting storage medium).

Setting Headphone Source Options
In addition to the 5 preset headphone routings, a total of 20 available “slots” can be filled in a user
defined order. Headphone monitoring sources are selected from combinations of inputs, tracks, and
post-record tracks, including stereo and MS decoding. The order of headphone selections is user-se-
lectable. Available sources for headphone monitoring include:

HP Sources Description
Inputs 1,2 Stereo monitoring of input pairs. Input 1 is assigned to left headphone output; input 2 is assigned to
right headphone output.
Tracks A,B Stereo monitoring of track pairs. Track 1 is assigned to left headphone output; track 2 is assigned to
right headphone output. Upon playback, will play as track monitor.
Monitor A,B Stereo monitoring of playback (post-record) track pairs. Track 1 is assigned to left headphone output;
track 2 is assigned to right headphone output.
When using the recorded track monitor selection, there is a sample rate dependent delay in the signal. At 48
kHz sampling, the delay is approximately 12 seconds. This delay is due to the record buffering topology. Audio
can not be monitored until it has left the record buffer and written to the recording media.

Input 1, 1 Solo monitoring of selected input. This signal is sent to both sides of the headphones.
Input 2, 2
Track A, A Solo monitoring of selected track. This signal is sent to both sides of the headphones. Upon playback,
Track B, B will play as track monitor.
Monitor A, A Solo monitoring of playback (post-record) track. Highlighted media is source of monitor program. This
Monitor B, B signal is sent to both sides of the headphones. When not in playback, headphones have no program.
Inputs 1, 2 (MS) Stereo monitoring of discrete M (mid) and S (side) input pairs. Highlighted media is source of monitor
program.

23


HP Sources Description
Tracks A, B (MS) Stereo monitoring of discrete M (mid) and S (side) track pairs. Highlighted media is source of monitor
program. Upon playback will function as MS track monitor.
Monitor A,B (MS) Stereo monitoring of playback (post-record) discrete M (mid) and S (side) track pairs. Highlighted
media is source of monitor program. When not in playback, headphones have no program.
Inputs 1+2, 1+2 Summed inputs appear in each ear for summed mono monitoring of both inputs.
Tracks A+B, A+B Summed tracks appear in each ear forsummed mono monitoring of both tracks.

When tracks (A or B) are monitored in headphones, audio assigned to the tracks is heard in headphones
during recording. During playback the recorded track audio is heard in headphones.

To set the available headphone source options for headphone monitoring enter the HP: Monitor
modes menu. Once you enter the Monitor Modes menu you will immediately be in slot-1. Rotate the
Rotary Switch to select the source you wish to appear first in your Headphone monitor list. Once the
chosen source appears, press the Rotary Switch or the soft key ENTER (tone) key to move to the next
slot. Continue down the list to select the source for each slot in the list. Once all sources have been
chosen, press (done). This will exit the headphone monitor mode setup. You can exit the selection
process by pressing the stop or cancel (backlight) key at any time.

If DONE is pressed in the first headphone slot, the 722 will select a single option (Tracks A, B) for head-
phone monitoring. The 10 factory presets will be erased.

MS Stereo Monitoring
The MS stereo mode decodes discrete Mid-Side stereo signals to a left/right stereo signal for moni-
toring purposes. This allows for a proper stereo signal to be monitored in the field while discrete
M and S signals are recorded for later post production. For the MS decoder to operate properly, the
Mid signal is connected to input 1 and the Side signal is connected to input 2. The amount of stereo
“spread” is fixed to a 50/50 percentage from Mid to Side signal.

If MS is selected for input linking, do not use MS stereo monitoring. This would result in two MS decod-
ers being inserted in the signal path. The resulting audio in the headphones would be the discrete M and
S signals!

Rotary Switch Behavior
The action of the Rotary Switch during recording and playback is set from among the three available
options:
• Disabled: pushing the Rotary Switch has no effect.
• Selects Favorite Mode: places the headphone source into the mode selected in the HP Favorite
menu.
• Playback/Monitor Drive Select: pushing the Rotary Switch toggles between CompactFlash,
internal hard drive, and external hard drives for playback and monitoring while recording.

24


Headphone Favorite Selection
If “Selects Favorite Mode” is selected from the choices above, pushing the Rotary Switch
selects the assigned “Headphone Favorite” source. This feature is helpful to quickly return to a se-
lected headphone monitoring selection while recording or playing. One of the available headphone
selection can be selected as the headphone favorite.

Headphone Playback Mode
The user may select a headphone source for automatic selection upon playback. All headphone
source selections are available for Headphone Playback Mode, as well as “No Change”, which leaves
the headphone source set to the currently selected mode. Headphone Playback Mode is controlled in
setup menu #61.

Headphone Warning Tones
The 722 can generate an audible beep, or warning “bell”, in the headphones when an error has oc-
curred. The speciﬁc error will be reported on the LCD. The output level of the warning bell is menu-
selectable from off to –12 dBFS in the setup menu.
Recording Start and Stop Bells
If the Setup Menu option HP: Record/Stop Bell is enabled, the 722 will generate beeps to alert
the user of the recorder’s current status. These beeps are only sent to the headphone monitor, these
beeps are not present in the recordings or at the analog outputs.

7-Series Status HP: Bell
Recording One 440 Hz beep
Paused (if using Rec: Record Pause) One 220 Hz beep
Stopped Two 220 Hz beeps

Low Battery Warning
When either the attached battery or external power supply voltage reaches their low warning levels
(6.5 V for the attached Li-ion, 11.0 V or user-selectable for external) warning tones are played in
headphones. The warning tone is a three pop note of 880 Hz every 20 seconds.
If all warning tones are turned off, no tones are sent to headphones, including low battery warning
tones.

Metering and Display
The 722 features a 38-segment LED (2 x 19) signal level meter. The DSP-controlled meter provides
a selection of ballistics and lighting intensities. In addition, peak indicators on input channels show
overload activity.

Output Meter

0 dBFS track LEDs are programmable as
peak LEDs
(0 dBFS to −20 dBFS)

25


The meter uses energy efﬁcient LEDs viewable in full sunlight. The 722 output meter is unaffected
by shock or extremes in temperature and humidity. Meter ballistics are setup menu selectable among
VU, Peak, Peak-Hold, VU + Peak and VU + PeakHold.
The meter uses a compound metering scale which increases meter resolution in the most important
part of the scale. From −50 to −40 dBFS, each LED segment equals approximately 10 dB. From −40 to
−12 dBFS, each segment equals 2 dB. From −12 to 0 dBFS each segment equals 4 dB.

Meter Ballistics
The output meter can be set to display any of ﬁve types of meter ballistics: VU, Peak, Peak-hold,
a combination of VU and Peak, and a combination of VU with Peak-hold. The meter ballistics are
selected in the setup menu.

VU - (Volume Units)
Ballistics correspond closely to how the human ear perceives loudness and provides a good visual
indication of how loud a signal will be. In VU mode, the attack and decay of the meter signal is
300 mS. While giving a very good visual indication of perceived loudness, VU meters gives poor
information on actual signal peaks and are virtually useless for tracking to the 722. In VU mode, the
front panel meter labeling is in volume units.
Peak
Peak-reading ballistics correspond to actual signal maximums, but don’t necessarily correspond to
perceived signal loudness. A peak meter has a near-instantaneous attack to display maximum signal
amplitude and a slow decay to allow the user to see them. Peak metering is essential for digital re-
cording, since signal overload can cause immediate distortion. The peak meters front panel markings
are calibrated in dBFS, decibels relative to full-scale digital signal.
Peak Hold
Essentially the same as Peak metering where the peak level indication will hold for the peak level
indication for several seconds. Peak-hold indicators are useful for metering in applications when an
overload condition is unacceptable.
Peak/VU
The meter can simultaneously display VU and Peak level information. In this mode the perceived
loudness (VU) is displayed on a bar graph, and the Peak signal on a dot above the VU. With this
combination the user gets the best of both VU and Peak metering by seeing both the “loudness” of
the signal and the peaks at the same time. Peak/VU is the factory default.
Peak Hold/VU
Similar to VU/Peak mode, this mode holds the peak level indication for several seconds before
releasing. Peak Hold indicators are useful for metering in applications when an overload condition is
unacceptable.

26


Peak LEDs

input peak LEDs

input signal present LEDs

headphone peak LED

In addition to the main LED output meter, peak LEDs show input peaks, track peaks, and head-
phone peaks.
Input Peak
The 722 has a peak LED associated with each input. These LEDs illuminate when input signal
reaches –3 dBFS. There is no user-adjustment to the Input Peak LEDs. These LED’s also function as
indicators of input mute activity (see Input-to-Track Routing).
Track Peak
The 0 dBFS LED on each track can also function as a track peak indicator. The user can select a signal
threshold above which the 0 dB LED will ﬂash.
Headphone Peak
Like the channel peak LEDs, the headphone circuit has an indicator for peak overload. This LED is
useful, since headphones can often overload before the recorder overloads. Monitoring without a
visual indication of headphone clipping may mislead the operator into thinking that the output or
return tracks are distorting.

Tone Oscillator
The tone oscillator can be used as an aid to lining up levels. Both tone level and frequency are user
selectable. Reference level is adjustable over a range of −40 to 0 dBFS in the Setup Menu option
Tone: Level. The tone frequency is adjustable from 100 to 10,000 Hz in increments of 10 Hz from
the Setup Menu option Tone: Frequency. Standard tone levels vary according to the practices and
needs of production and post-production, but are generally in the –20 to −12 dBFS range.
The tone oscillator is activated by pressing the TONE key. Press and hold for two seconds to
latch on, pressing again will deactivate the tone signal. Tone is routed where speciﬁed in the Setup
Menu option Tone: Mode. Routing choices include: Outputs only, Outputs and Tracks, Tracks only,
or no tone routing (disabled). When routed to Tracks, all selected record tracks will receive the tone
signal. Changes to tone oscillator settings made while tone is latched on do not take affect until tone
is turned off.
To record tone at the head of a take, activate the tone signal then press the REC key. From the factory,
subsequent presses of the TONE key are locked out to prevent tone from being inadvertently record-
ed. Tone can be activated while recording by following these steps.
1. Enter the Setup Menu option File: Marker Mode and set it to disabled.
2. Press the REC key to begin the recording.
3. To record tone, Press and hold down the REC key then press the TONE key. To latch tone, press and
hold the Tone key for 2 seconds, press again to release. Once tone is generated the REC key can be
released.

27


The tone oscillator can be activated anytime during recording by setting the Tone: Record Lock
feature in the Setup Menu. Press the Tone key anytime to generate a tone signal. Please note that
when enabled, any slight press of the tone key will generate tone and override any program material
where tone has been routed to, including record tracks.

LCD Contrast & Backlight, LED Brightness
LCD contrast is setup menu controlled. From the factory the contrast is set to 50%, suitable for most
viewing conditions. Contrast can be increased or decreased.

The front panel key toggles the LCD and key backlight. Backlighting is suitable in low or no
ambient light situations.

LED brightness is continuously adjustable from low to high. Hold down the key, then turn the
Rotary Controller to change brightness levels. The brightness of all LED’s is adjusted. In stealth
mode (setup menu selected) the LEDs are toggled on and off with the LCD backlight key.

LCD Gain Display
By default, the 722 displays the set Bit Depth and Sampling Rate in the right-hand side of the Main
LCD Display. The gain level for inputs 1 and 2 temporarily override the Bit Depth and Sampling
Rate display while the input gain pots are in use. The LCD display can be set to always display gain
by selecting Gain Only in the Setup Menu option LCD: Gain Display.

Record Indication
The position of the A-time numbers and time code numbers can be exchanged in the setup menu.
When Big time code is selected in the menu the time code is displayed in the main numeric dis-
play. If time code is turned off A-time is shown as large numbers, even with Big time code set.
To provide for additional visual indication that recording is in process the big numerals can be set to
reverse contrast or to flash during record. This is menu-selected.

744T display shown

reversed numbers indicating that recording is active

24-Hour Time Counter
24-Hour Time Counter Mode is primarily used to easily identify the time-of-day that an event oc-
curred during a recording. When the Setup Menu option Time Counter: Mode is set to 24h, the
722 displays a 24-hour time counter on the Main LCD Display. The value of this counter is derived
from the 722’s internal time-of-day clock.
Recorded files are stamped with the beginning record time in metadata. Although this is not true
time code, the files are stamped in the beginning time code fields with a fixed 30 frames per second
frame rate. Files recorded with 24-Hour Time Counter Mode will display the time that they were
recorded when played back from the 722. The Time Counter Mode is set to off at Factory Default.

28


24-Hour Time Counter

By default, the 24-Hour Time Counter is displayed below the big A-Time. The position of the
A-time and the 24-hour time counter numbers can be exchanged in the Setup Menu option
Time Counter: Display. When Big 24h time is selected, the 24-Hour Time Counter value is
displayed in the main numeric display. If Time Counter Mode is turned off, A-time is shown as large
numbers, even with Big 24h time is set.

Record Pause is not available when set to 24-Hour Time Counter Mode.

Recording
The user interface of the product has been designed similar to a “tape recorder”. Recording and play-
back functions are quite similar to that of tape-based machines. The flexibility of file-based recording
provides control not possible with tape-based recorders.

Recording

The largest, most easily accessed control on the 722 is the record key. Recording takes
priority over all activity except for disk formatting, disk speed tests, and file transfers. The 722 will
immediately enter record mode when the record key is pressed. When recording, the adjacent red
LED will illuminate to indicate that the unit is in record mode.
In the event that the system is not ready to begin a new file, the recorder will enter standby mode.
“REC Pending” will appear in the File Name field of the LCD display and the adjacent red LED will
flash. The 722 will immediately begin recording as soon all selected media is ready.

If no inputs are routed to tracks, recording cannot take place. Make certain that at least one record track is
assigned for recording.

Recording integrity is further enhanced through a process of periodic, automatic file directory and
header updates written to disk during recording. This ensures file integrity in the unlikely event of a
total loss of power.

The auto save feature does not apply to MP3 or FLAC recordings. If power is lost while recording to these
formats the recordings maybe invalid.

While recording, the power, ff, rew, input, tone, and drive keys are disabled. Recording is stopped by
pressing and holding the STOP key. The Stop key must be held for 150 ms or greater to end record-
ing. Although the setup menu can be viewed during recording, menu items affecting recording are
lined out in the menu list.

29


During recording, subsequent presses of the record key can perform one of three setup-menu-select-
ed actions:
• no action,
• new cue - cue markers are set within the file being written,
• new file - a new file is started with each press of the record key, the take counter is increased by
one.

When removing the CompactFlash from the 722, always observe the amber CF activity LED. If it is lit,
wait until it goes out before removing the CF. If you remove the CF while the LED is lit, the file will be
corrupted and there is a possibility of FAT corruption as well.

Pre-Record Buffer
To prevent missing record cues or up-cutting takes the 722 has an available pre-record (or pre-roll)
buffer. When active, pre-record begins recording at a set number of seconds PRECEDING the record
key being pressed. The amount of pre-record is sample-rate-dependent. At 48 kHz, ten seconds of
buffered audio is available. At a 96 kHz sampling rate five seconds is available. At very high rates
(192 kHz) two seconds of pre-record buffer is available.

Failure During Recording
In the event of a recording media failure the error will be indicated on the front panel and by a tone
in headphones. Possible causes of media failure include a hard drive is in severe motion which
results in recording errors, or a the CompactFlash card filling up while recording. If both hard drive
and CF are selected for recording, recording will continue on the medium without the failure.

Front Panel Lockout
See Panel Lock on page 8 to engage panel lock during recording.

Record Pause
This allows a recording to be stopped then continued without creating a new take or file. Record
Pause is useful for live music recording, reporter interviews, or any other application that can benefit
by stopping and starting recording without generating a new file. To use the Record Pause Feature:
1. Access the Setup Menu option REC: Record Pause and select Enabled.

The Record Pause feature does not support the 24-Hour Time Counter. If the Record Pause Enabled set-
ting is crossed out, the Time Counter is active and must be turned off before Record Pause is available.

Navigate to the Setup Menu Option Time Counter: Mode and set it to Off.

30


2. Press the REC key to begin recording.
3. Pause the recording at any time by pressing the STOP key once. When paused the absolute time and
Record LED will flash.
4. Press the REC key again to continue recording.
5. Press the STOP key twice will finalize the recording. At this point, the file is available for Playback and
the next press of the REC key will begin recording the next incremented take.
Things to consider when using Record Pause:
• Time Counter Mode must be Off.
• Multi-unit linking using the C. Link connection is not supported.
• Pre-Roll is only added at the beginning of a file or take. Pre-Roll is not added when recording is
resumed from the paused state.

Record Timer
The 722 is equipped with a record start and stop timer. This allows a user to record a take at a specific
time from an unattended recorder. Set the start time in the Setup Menu option Rec: Timer Start
then set the record stop time in the Setup Menu option Rec: Timer Stop. The 722 will only start
recording if the recorder is On when the timer start time elapses.

Playback
The 722 has high-resolution playback circuitry and is appropriate for any reference audio applica-
tion. Any file recorded by the 722 can be played back, including MP2, MP3, FLAC, and WAV files.
In addition, files copied to the storage medium from a computer can be played back. This is useful
when using the 722 as a high-resolution playback device.
The 722 plays back the last recorded audio file unless another file is selected. There are two ways
to select another file for playback. To select another file in the current record directory, push either
the FastForward or reverse key to put the 722 in to play-stop mode. The filename display will begin
flashing and the FastForward and Reverse keys are used to step through files available in the current
record directory. To select a file in an alternate directory, press enter the File Viewer by pressing the
HDD key. Navigate to the appropriate folder on any available storage drive. Select the file to play
back with the Rotary Switch and press play.

AutoPlay
The 722 can be set to play back all (playable) audio files in a folder. Files will play back in their order
in the folder. Autoplay can be set with the following options:
• Disabled – auto playback is off
• Play all – all files in the directory will play, then stop when all files have been played
• Repeat one – the selected file will play back, then continue until stopped by the user
• Repeat all – all files in the directory will play in succession, then repeat until stopped by the
user

31


Audio File Formats
The 722 records audio to the industry-standard Broadcast Wave file format, either monophonic or
polyphonic, MP2, MP3, or FLAC. Files created by the 722 receive the .WAV, .MP2, .MP3, .FLAC file
extensions. The 722 will read files with the .BWF extension.

.WAV
The 722 has two file type options for recording WAV files, mono and poly. Select the file type in the
Setup Menu option REC: FILE TYPE.
Monophonic
When WAV Mono is selected, the 722 will generate a separate audio file for each recorded track.
The mono files generated by the 722 have file names similar to T01_1.WAV and T01_2.WAV. The file
name suffixes, _1 and _2, identify the track number of the file.
Polyphonic
When WAV Poly is selected, the 722 will generate one audio file for each take. All recorded tracks are
interleaved into this single file.

Wave Agent Beta allows for the splitting (de-interleaving) of polyphonic files and combining (merging or
interleaving) of monophonic sibling files into a single polyphonic file. See Wave Agent Beta.

The 722 writes AES-31 Broadcast Wave formatted files. The audio files created by the 722 place ad-
ditional information in the file header, called the Broadcast Audio Extension data chunk. Software
that does not recognize this additional broadcast wave data chunk will simply ignore this added
information. Among the values recorded are:
• time code stamp
• time code frame rate
• date and time of the original recording
• bit depth
• sampling rate
• originating machine serial number

.FLAC
Free Lossless Audio Codec is a lossless data compression algorithm specifically designed for au-
dio. It is a convenient way to extend recording time with no effect on audio quality. It is suitable for
recording and archiving. FLAC, in particular, offers data compression rates that range anywhere
between 30% and 60%, depending on the audio program. Sound Devices Wave Agent Classic (www.
waveagent.com) is a free Windows based software used to extract FLAC to WAV as well as combin-
ing monophonic files and splitting polyphonic files.

What to consider when recording FLAC:
• notes are currently disabled, all other metadata is stored
• limits your sampling rate to 96 kHz
• limits recording to only one storage medium at a time
• The 7-Series can play back the recorded FLAC files.
• Use Sound Devices Wave Agent Classic software (www.waveagent.com) to extract Broadcast
Wave files from 7-Series recorded FLAC files.
• Auto save feature does not apply to FLAC files, if power is lost while recording the file maybe
invalid.

32


.MP2
MPEG-1 Layer II is a lossy compression algorithm often used for speech recording.

What to consider when recording to MP2:
• BEXT or iXML
• mono recordings are not allowed with bit rates above 192k
• limits your bit depth to 16 bit

.MP3
MPEG-1 Layer III is a lossy compression algorithm often used for music.

What to consider when recording to MP3:
• No BEXT or iXML data
• limits your bit depth to 16 bit
• Auto save feature does not apply to MP3 files, if power is lost during recording the file maybe
invalid.
The chart below indicates the limitations of all file types available on the 722.

File Bit Depth Sampling Rate - kHz Maximum File Multi-
Format (bits) Number of Extension Medium
(Bit Rate – kbps)
Tracks Recording

PCM 16 or 24 32 to 192 2 .WAV yes
FLAC 16 or 24 32 – 96 2 .FLAC no
MP2 (mono) 16 32, 44.1, 48 1 .MP2 no
(64, 96, 128, 160, 192)
MP2 (stereo) 16 32, 44.1, 48 2 .MP2 no
(64, 96, 128, 160, 192, 256, 320, 384) *
MP3 (mono) 16 32, 44.1, 48 1 .MP3 no
(32, 64, 96, 128, 160, 192, 256, 320)
MP3 (stereo) 16 32, 44.1, 48 2 .MP3 no
(32, 64, 96, 128, 160, 192, 256, 320) **

* For MP2-Stereo, the per-channel bit rate is half of the selected bit rate.
** MP3-Stereo uses Joint Stereo Coding, which improves per-channel resolution over MP2-Stereo but
can not be quantified into a specific per-channel bit rate.

iXML
The 722 includes iXML (revision 1.5) data in addition to the broadcast wave extension data. For
iXML-aware software applications this data is available. For applications that don’t recognize iXML,
this information is ignored.
Notes
iXML supports notes fields. From the File Viewer select OPTIONS, then Notes.

33


Using an external keyboard via the CL-1 Remote Control and Keyboard Interface the entry of notes
is much quicker than using the Rotary Switch.

Post-record metadata editing can be performed using a Mac OS or Windows based computer with Sound
Devices Wave Agent Beta. See Wave Agent Beta for more details.

Recording Time Calculation
The calculation of available 722 recording time involves three factors:
• track count - how many concurrent audio tracks are selected for recording.
• data rate - calculated from the sample rate and bit depth for non-compressed audio and by bit
rate for data compressed audio. Data rate determines how big the data “container” is for the
audio signal (see the calculation below for determining PCM audio).
• storage medium capacity - typically expressed in GB

Uncompressed Recording Time in Track-Hours
Data Rate (bit depth/sampling rate), one track
16/44.1 16/48 24/48 24/96 24/192
(5.05 MB/min) (5.49 MB/min) (8.24 MB/min) (16.5 MB/min) (33.0 MB/min)
1 3.3 3.1 2: 1 0.5
2 6.7 6.2 4.1 2 1
4 13.5 12.4 8:2 4.1 2
Storage in GB

8 27 24.8 16.5 8.2 4.1
(1000 MB = 1 GB)

16 54 49.7 33.1 16.5 8.2
40 135.1 124.3 82.8 41.4 20.7
60 202.7 186.5 124.2 62.1 31
80 270.3 248.7 165.7 82.8 41.4
100 338 310.8 207.1 103.5 51.7
160 540.7 497.38 331.38 165.4 82.8

The chart above shows recording time available with the 722. Time is expressed in hours per track
(track-hours) at the specified data rate supported by the 722. If recording two tracks, divide the track
hours figure by two. Note that the 722 supports additional sample rate/bit depth combinations,
however, only the most common are included below.
Record Time
The chart shows that when recording 24-bit/48 kHz audio to a 40 GB hard drive the maximum
amount of recording time available roughly 330 track-hours. If recording a stereo two-track file, this
yields 115 stereo hours of record time.

Note that most storage mediums now quote capacity in GB using SI units, where 1000 megabytes equals
one gigabyte.

34


PCM Audio
Uncompressed digital audio is expressed numerically by two measurements, bit depth and sampling
frequency, such as 16-bit/48 kHz. These two numbers are used to compute the data rate of uncom-
pressed audio.
Audio Data Rate = Bit Depth x Sampling Frequency
In the example below the data rate of a single 16-bit/48 kHz audio stream is computed in megabytes
per minute. Division by 1,048,576 converts from bits to megabits. Division by 8 converts from mega-
bits to megabytes; multiply by 60 converts seconds to minutes.
(((16 x 48000) / 1,048,576) / 8) x 60 = 5.49 MB/min

MP3 Compressed Record Time in Hours
MP3 Data Rate (bit depth/sampling rate), stereo track
32 kb/s 64 kb/s 96 kb/s 128 kb/s 160 kb/s 192 kb/s 256 kb/s 320 kb/s
(0.2 MB/min) (0.47 MB/min) (0.70 MB/min) (0.94 MB/min) (1.17 MB/min) (1.40 MB/min) (1.86 MB/min) (2.34 MB/min)

1 72.8 36.4 24.2 18.2 14.5 12.1 9.1 7.2
2 145.6 72.8 48.5 36.4 29.1 24.2 18.2 14.5
4 291.2 145.6 97 72.8 58.2 48.5 36.4 29.1
Storage in GB
(1000 MB = 1 GB)

8 582.5 291.2 194.1 145.6 116.5 97 72.8 58.2
16 1165 582.5 388.3 291.2 233 194.1 145.6 116.5
40 2912.7 1456.3 970.9 728.1 582.5 485.4 364 291.2
60 4369 2184.5 1456.3 1092.2 873.8 728.1 546.1 436.9
80 5825.4 2912.7 1941.8 1456.3 1165 970.9 728.1 582.5
100 7281.7 3640.8 2427.2 1820.4 1456.3 1213.6 910.2 728.1
160 11650.8 5825.4 3883.6 2912.7 2330.2 1941.8 1456.3 165

The chart above shows recording time available with the 722 when recording to an MP3 file. Time
is expressed in hours at the specified MP3 supported by the 722. Note that all recordings are two-
channel recordings.
Compressed Audio
When digital audio is compressed using some form of lossy, perceptual process such as MPEG2-
Layer3 (MP3 audio), Windows Media encoding (WMA), ATRAC encoding (used in MiniDisc), AAC
(MPEG-4 audio), or others - it can have a significant reduction in its data rate. Compressed audio has
enabled the practical distribution of audio over low speed data networks.

File Naming / Numbering
Files generated by the 722 are named using a syntax made up of four parts: scene number, take num-
ber, mono track designator (if mono file is selected), and extension.
S001T01_1.WAV
extension
scene mono
number take file
number designator

Post-record metadata editing can also be performed using a Mac OS or Windows based computer with
Sound Devices Wave Agent Beta. See Wave Agent Beta for more details.

35


Scene Name/Number
Scene names are made with alphanumeric characters, including “_ ” and “-” can can be any length
between zero (0) and nine (9) characters in length. Scene numbers are helpful to match audio with
the corresponding scene in a production. Scene names can also be used to identify other items, in-
cluding recording date, artist name, or any other descriptor as required.
Scene names are user-selected in the setup menu and do not change until changed by the user.

To change scene numbers:
1. Enter the user menu and navigate to the Scene Name/Number option.
2. Use the REW (<<) and FF (>>) soft keys to move among characters. Use the PLAY key to delete charac-
ters. Characters are entered from left to right and deleted from right to left.
3. Use the Rotary Switch or the soft key arrows to choose characters. Press the Controller or hit the fast-
forward key to save the character and move to the next position.
4. To save the scene name, press the soft check key or the Controller without selecting a character. After
the ninth character is entered, the scene name is automatically saved.

If all characters are removed, no scene name will be written to files. If Scene Folder is selected for file
management, all takes will be placed in the root of the drive.

Take Numbers
Take numbers are integers between 01 and 32000, with or without preceding zeros, which increase
by one each time a new file is recorded. Take numbers can be set with or without a take separator,
such as the character “-” or “T”. Take numbers can be overridden and a new take number can be set
in the setup menu. If the 722 detects a file with a duplicate name in the destination folder, a letter
suffix, starting with “A” is added to the file name, before the extension. Note that take number han-
dling can be selected to reset if set in the setup menu (see File Management and Copying).

To change take numbers:
1. Enter the user menu and navigate to the Take Name/Number option.
2. Use the REW (<) and FF (>) soft keys to move among decimal places and to jump to the single alpha-
numeric take spacer character. Use the PLAY key to reset the take number to 1. Characters are entered
from left to right and deleted from right to left.

36


3. The Rotary Switch or the soft keys are used to choose characters/numbers. Press the Controller or hit
the soft check key to save the character and move to the next position.

From the user menu the action for take resetting is controlled from the following options:
• Never – take numbers do not reset
• When scene is changed – take resets when scene name is changed
• When daily folder is changed – takes reset on new day
• Either scene or daily– takes reset on either change

Mono Track Name Designators
When recording monophonic Broadcast WAV files each track is recorded in a separate data file. To
identify each track, each file is identified by an underscore and track number suffix. The file of the
first track recorded has “_1” appended to it. Numbers don’t necessarily correspond to specific tracks,
only to the number of tracks recorded. For instance, if track B is the only track recorded, it’s designa-
tor will still be _1.

Duplicate File Names
When the 722 detects that a duplicate file name is going to be generated in any specific folder, the 722
changes the file name by adding of a letter suffix before the extension. For instance, if take numbers
are reset but files are recorded to the same folder as previous files, a suffix “A” is added to the file. If
additional duplicate files are generated the letter suffix increments, to B, C, etc.

Wave Agent Beta

Wave Agent Beta is a WAV file librarian for Mac OS and Windows computers. Designed for Produc-
tion Sound Mixers and Post Production Editors, Wave Agent provides a comprehensive and indis-
pensable range of tools for preparing audio files for problem-free passage through complex produc-
tion workflows.
Wave Agent is an essential, time-saving tool for anyone working in Production Sound. It allows for
the following;
• Playback of polyphonic and monophonic WAV and Broadcast Wave files from any source
• Viewing and editing file metadata
• Changing of sampling rate, frame rate, and start time code metadata stamps
• Splitting and combining polyphonic and monophonic files with selectable track assignments
• Batch editing
• Generating customized PDF and CSV Sound Reports
• Large time code display
• Monitor mixer with faders, pans, solos, mutes, and meters
• Drag-and-drop operation
• Comprehensive keyboard shortcuts for accelerated operation

37


• Mac OS and Windows compatible
Wave Agent is available as a no-charge software download for either Mac OS or Windows.
http://www.sounddevices.com/download/waveagent.html

File Management
The 722, like a computer, saves audio recordings to a file system containing files and folders. The 722
formats its internal hard drive, CompactFlash medium, and attached external drives as single drives
named “722 INDD”, “722 CF”, and “722 EXTHDD,” respectively. All files generated by the 722 can
be saved to the Root Folder, a Daily Folder, or a Scene Folder.

Folder Actions
All files generated by the 722 can be saved to the Root directory, a Project Folder, a Daily (Roll)
Folder, or a Scene Folder (Files are saved to the Root directory by default). File organiza-
tion is managed in the Setup Menu option FILE: FOLDER OPTIONS. Folder choices include
TOP-LEVEL, MID-LEVEL, and BOTTOM LEVEL FOLDERS. Folders are created when the record
key is pressed. This reduces the likelihood of empty folders.
• Top-Level folder - is a root-level folder and can be set with a user-selected name. The Top-
Level folder can also be de-activated by selecting <None> from the Setup Menu. If the Top-
Level folder is not used then the next lower-level folder will reside at the drive’s root. If the
Top-Level folder is active then the Mid-Level and Bottom-Level folders will be its sub-
folders.
• Mid-Level /Daily folder - can be selected as a <Daily> folder, a folder with a user-selected
name, or not used. If a Top-Level folder is in use, the Mid-Level folder will be a sub-folder
of the Top-Level folder. If no Top-Level folder is used the Mid-Level folder will reside
at the drive’s root. If set to <Daily> a new folder will be created daily. When recording past
midnight the 722 will prompt to make to a new daily folder.
• Bottom-Level /Scene Folders - can be selected as a <Scene> folder which will use the name
generated from Rec: Scene Name/Number Setup Menu, as a user-selected name, or not
used at all. If no upper-level folder is in use, the Bottom-Level folder will reside at drive’s
root. If the Mid-Level and/or Top-Level are in use the Bottom-Level folder will be a sub-
folder.
Example: If a daily Folder is desired, set the Top-Level to <None>, the Mid-Level folder to
<Daily>, and the Bottom-Level to <None>. This will generate a Daily Folder in the root
directory with it’s files directly inside the folder.

38


A hierarchical view of files generated by the 722 is below.
722
The FALSETAKES, SOUNDDEV, and TRASH folders are automatically gener-
FALSETAKES ated. SOUNDDEV is not viewable from the 722 File Viewer.
SOUNDDEV
A TOP-LEVEL folder sits in the root directory. This folder can be negated by
TRASH choosing <None> in the menu File: Folder Options.
TOP-LEVEL
A MID-LEVEL folder can be used as a sub-folder. This folder can be selected
MID-LEVEL to be a <Daily> folder in the menu File: Folder Options.
BOTTOM-LEVEL
A BOTTOM-LEVEL folder could also be used as a sub-folder. This folder can
Example: be selected to be a <Scene> folder in the menu
File: Folder Options.
722
FALSETAKES
SOUNDDEV
TRASH
This is a TOP-LEVEL folder named PROJECT activated in the menu File:
PROJECT Folder Options.
07Y01M15 This is a MID-LEVEL folder set to <Daily> from the menu
SCENE File: Folder Options.
NAMET01.WAV This is a BOTTOM-LEVEL folder set to <Scene> from the menu
NAMET02.WAV File: Folder Options.
These two files are title NAME in the menu
Rec: Scene Name/Number.

File Viewer Navigation
Moving from file to file is similar to navigating among files on a computer.
1. Enter the file menu by either selecting File:View Files file in the setup menu or by pressing the front
panel HDD key. By default the current record folder is opened.
2. To move up the hierarchy scroll up to the top of the menu to “..” .
3. Press enter or the Rotary Switch button to go up one menu level.
4. From the root menu, selecting .. opens the media select screen.
5. Continuing up the file hierarchy the media menu is viewable. Select either internal hard drive or CF (if
installed) and drill down through the directories of that medium to the file required.

Larger files take added time to show details; this is normal.

File Viewer Screen
The file list screen contains information about the individual audio files contained in the folder. The
left side of the display shows files and folders. The top line displays the folder path in the form of
mediafolder name. File names are listed in the order they were recorded.

Data files not native to the 722 will not show in the File Viewer, although folders that they occupy will be
visible.

39


File detail is shown at the right side of the display. The center divider points to the file selected for
information viewing. Information shown includes:
• file creation date, file archive bit status, checked means the file archive bit is set, clear means
the file archive bit is cleared
• file creation time, file size
• number of tracks, bit depth, sample rate
• The length (LEN) of the file

The file directories always exit to the main screen whether entered via the menus or the HDD key.

File Time and Date
Similar to a computer file system, all files recorded by the 722 are stamped with the time and date of
file generation. To ensure that accurate time-of-day and file generation dates are written for each file,
make certain that the time-of-day clock and calendar are accurately set.
1. Enter the TIME/DATE: Set menu.
2. Set the current time and date using the navigation below.
soft keys increment advances to the next
and decrement time selection
and date, controller
can be turned, as well
returns to the
previous setting

Once set, the time and date clock will be kept while the removable rechargeable battery is attached.
If it is removed the internal AA NiMH time-of-day battery maintains the date for up to 5 days.

File Size Maximum
The 722 data volumes (internal hard drive and CF) are formatted and write to FAT32 file structures.
This structure allows these drives to directly mount in a wide variety of computer platforms, includ-
ing Windows, Mac OS, and Linux. Using the FireWire connection both internal drives (internal hard
drive and CF) appear as external FAT32 volumes.

Windows XP has a limitation on FAT32 drive formatting; XP can format a FAT32 volume to a maximum
of 32 GB, however it can read FAT32 volumes as large as 2 TB.

FAT32 has a maximum file size limitation of 4 GB. While it is possible to have thousands of files on
the 722 medium(s), the largest any single file may be is 4 GB. The 722 automatically splits an au-
dio file before the 4 GB size is reached and begins writing to a new file. When joined in an editing
program, these files match seamlessly with no samples lost. The 722 has menu-selectable file size
maximums of 512 MB, 1 GB, 2 GB, and 4 GB. The factory default setting for maximum file size is 2
GB. Some applications will not properly import audio files above 2 GB. The 512 MB size allows the
user to break an audio program into CD-R sized files for backup to inexpensive CD-R medium.

40


Setting/Clearing Flag Bits
Pressing the tone key in the File Viewer display opens the “Set or Clear Flag Bit” screen. The
options for setting or clearing flag bits include: set or clear the selected file, set or clear all the files in
the current folder, or set or clear all files on the volume.

All files created by the 722 have their archive bit set to on.

Automatic Flag Clearing
The recorder can be set to clear the flag bit of copied files automatically. When enabled in the Setup
Menu option File: Copy Flag Reset, all files copied internally by the recorder will have their
flag bits cleared on the original file. Flags are not cleared when copying to a computer over FireWire.

File Copying Among Available Drives
Audio files are easily transferred between CF and the 722’s hard drive. File transfer is initiated with
the setup menu option File:Copy File.
The Copy File menu has four options for each media type:
Copy All [Media] > [Media]:
Copies all files from one media to the other.
Last 24Hr [Media] > [Media]:
Copies files created in the last 24 hours between media.
Last 48Hr [Media] > [Media]:
Copies files created in the last 48 hours between media.
Flagged [Media] > [Media]:
Copies all files with their archive bit set between.
Once file copying has begun, the 722 searches the source media for the selected files. The 722 will
then search the destination drive looking for duplicate file names. The LCD will report the number
of files found, the number of duplicates found and the net number of files to be copied and prompt
to continue.
Pressing the enter key or controller button begins copying. The LCD will report progress of the file
being copied and the number of files remaining to be copied. When file copy is complete, the 722 will
report the number of files successfully copies and show a progress bar showing the percentage of
files successfully copied.
Error Conditions:
If a file is to large for the destination medium, the 722 will give you the option to skip the it or cancel
copying. If an error occurs during file copying, the 722 will prompt to cancel the transfer. When the
destination medium is full, the 722 will report the error and end the transfer.

41


File Deletion
Any file or folder on either internal hard drive or CompactFlash can be deleted. Permanently delet-
ing files is a two-step process. Similar to Mac OS and Windows operating systems, the 7-Series uses a
“trash” folder to temporarily hold files which have been deleted. To send a file to the trash, perform
the following:

1. Press the HDD button to enter the File Viewer.
2. Navigate to the file to be deleted.
3. Press the soft key marked OPTIONS.
4. Select DELETE.
5. You will be prompted to verify file deletion.

The file has now been moved to the trash folder and will no longer appear in the file listing. It will,
however, appear in the trash folder. Files sent the trash folder can be viewed and played.

If a file or folder has accidentally been sent to the trash the drive can be mounted to a computer via
FireWire and moved back to its original folder. Files and folders moved to the trash cannot be removed
from the trash from the 7-Series recorder.

False Take Control
To identify a take as a false take, perform the following:

1. Press stop to end recording.
2. Wait for the file to finish writing, the activity LED will turn off
3. Hold down the stop key and press rewind to be prompted to delete the most recent take.
4. Press the soft check box to delete the take

Files that have been deleted as false takes are moved to the FALSETAKES folder and the file’s meta-
data False Takes flag is set to true. The False Takes folder sits in the drive root. When recording to
CompactFlash and external FireWire storage devices files from each media will be moved to each
media’s FALSETAKES folder. False takes will remain on the drive until the FALSETAKES folder is
deleted. See Emptying the Trash and False Take Folders.

Emptying the Trash and False Take Folders
Files that have been moved to the trash and false take folders (see below) can be permanently delet-
ed from the recorder. Each drive has its own Trash and False Take folders and they are permanently
deleted, independently.

Once the trash and False Take folders have been emptied, any files or folders they contain are permanently
deleted and cannot be recovered.

42


Take Number Incrementing
To advance to a higher take number hold the STOP button and press FastForward. The file name to
be recorded is indicated above the file time.
Indicates Indicates next
active take upcoming take

Take List
The take list shows a sequential listing of the last 200 recorded files, without regard to what folder
they have been recorded in. The first file in the list, marked with an * indicates the file name of the
next recorded take. Subsequent takes are listed in the order of recording from the 7-Series. Only files
recorded on the unit will appear in the take list, unlike in the File Viewer, where all valid sound files
are shown.

From the take list several controls are available. Take Number Incrementing is available, as well as
False Take deletion. Soft keys move among take numbers. Takes can also be marked as No Good or
Circled. See Take Status for details.

Take Status
Takes recorded by the 722 can be marked as Circled or as No Good. Take Status is used to mark the
quality of the take so that post can quickly identify which takes to use. The Take Status of the last
take recorded can be quickly changed in the Take Status Menu. Any take recorded prior to that must
be changed in the Take List. Take Status changes are applied to all available media that recorded the
selected take. If one of the media has been removed and a Take Status change is performed, the 722
reports “Warning: Media Not Open”.
Circle Take
Circled Takes are generally the best quality or “print” take. Takes are marked as circled so that post is
quickly able to identify which take to use.
Takes that are circled are renamed to include the “@” symbol preceding the file name. Additionally,
Circled Takes are tagged <CIRCLE>= TRUE in the iXML chunk.
No Good
No Good or NG takes are generally takes that have useful material but are not the best take record-
ed. Takes are marked as No Good so that the Dialog Editor is able to quickly find alternate takes that
may have useful material.
Takes that are marked as No Good are renamed to include the “$” symbol preceding the file name.
Additionally, No Good Takes are tagged <NO_GOOD>= TRUE in the iXML chunk.

Takes are either No Good or Circled, they cannot be marked as both.

43


To quickly identify the last recorded take as Circled or as No Good, perform the following steps:
1. Press the STOP key to end recording.
2. Press and hold the STOP key down, then press the LCD Backlight key to enter the Take Status Menu.

3. Press the soft Circle (Menu) key to mark the take as Circled or press the soft No Good (HDD) key to
mark the take as No Good. The check mark appears in the selected box and the 722 automatically re-
turns to the Main Display.

To identify any take in the Take List as Circled or No Good, perform the following steps:
1. Press the STOP key to end recording.
2. Press and hold the STOP key down, then press PLAY to enter the Take List. The Take List can also be
accessed via the Setup Menu option File: View Take List.
3. Scroll among files to find the take that is to have its status changed.

4. Press the soft No Good (Rewind) key or the soft Circle (Fast Forward) key. To remove the take status
indication, highlight the No Good or Circled file and select “No Good” or “Circle” again.

5. Press the soft X (LCD Backlight) key or Stop key to exit the Take List.

Storage Medium – Internal Drive
The 722’s internal hard disk drive is the 722’s primary storage medium. The large capacity and fast
data read/write speeds of hard drives are a perfect choice when long length, high data rate record-
ing is performed. Hard drives are a good balance of speed, reliability, noise performance, and cur-
rent draw. Higher speed hard drives can be used with the 722, however, they will not significantly
improve performance. High speed drives slightly increase transfer throughput with the penalty of
increased power draw (reduced battery run time).

44


Formatting
The drive installed in the 722 is formatted at the factory as a single-partition FAT32 volume. If a drive
with multiple partitions is installed, the 722 will only “see” the primary partition. The 722 can only
address one partition.
As a matter of routine maintenance, periodic re-formatting of the 722 hard drive is recommended.
Formatting the hard drive rebuilds the FAT (file allocation table) and erases any audio or other data
files present on the medium. This reduces possibility of corruption and reduces the possibility of
fragmented audio files.

Be certain that all files on the 722 drive have been backed up to another media before formatting. Once
formatted, all data on the drive will be erased.

To format the 722 internal hard drive:
1. Verify that all data on the hard drive has been copied or is no longer needed.
2. Press the Menu key.
3. Use the Rotary Switch to scroll to In HDD: Erase / Format.
4. To verify that a non-recoverable format of the storage device is desired two keys must be pressed to
begin formatting. Press and hold down the play key to enable the check mark. Hit the tone key (check
mark) to begin formatting.

Press and hold Hit the tone key to begin
down the play key formatting

Formatting the 722 hard drive can take up to 30 seconds. When the format is completed, the 722
will create a fresh menu hierarchy, including the daily folder, if selected. Dynamic lists such as track
names, scene names, folder options, etc... will be saved.

Drive Type
The 722 ships with a 2.5-inch SATA interface, 5400 RPM hard drive. Sound Devices has chosen the
specific mechanism for maximum vibration and shock resistance. Most 2.5 inch drives conforming to
the SATA specification can be substituted for the factory hard drive.

Units with serial numbers below 471309092000 have a 2.5-inch ATA-5 interface, 5400 RPM hard drive.
Most 2.5 inch drives conforming to the ATA specification can be substituted for the factory hard drive.

When choosing a substitute hard drive, note that higher RPM hard drives draw more current, reduc-
ing battery run time. Higher speed drives may be used with the 722, however they will not signifi-
cantly improve performance. They will slightly increase transfer throughput with the penalty of
increased current draw and reduced battery run time. The 722 can address drives with capacities up
to 2 TB.

45


Drive Replacement
The internal hard drive can be removed and replaced if the drive fails or if a different capacity drive
is needed. The internal hard drive is not a swappable medium. Its multi-pin connector is not rated
for repeated insertion and removal cycles and may be prone to breakage with repeated cycling.

In typical service conditions Sound Devices recommends hard drive replacement every three years.

The hard drive is mounted to the bottom-side of the recorder’s chassis and is screwdriver acces-
sible. The drive is “suspended” in the unit with a shock isolating membrane and is attached to the
main circuit board via a “flex board”. Since the unit’s high-density circuitry and tight construction
require specific electronics knowledge, Sound Devices strongly recommends drive replacement be
performed by a qualified technician using proper ESD precautions. Drive replacement done by a
qualified technician has no warranty implications.

722 with bottom panel
removed showing hard drive
mounting location

The internal hard drive is not intended as a swappable exchange medium. Only qualified service techni-
cian using proper ESD precautions should perform drive replacement.

Drive Failure
Hard disk drives are mechanical devices and are susceptible to damage from physical shock. One
type of physical shock, called operating shock, occurs when the disk is in operation. During opera-
tion, the drive head is typically over the drive platters reading or writing data. When a physical
shock to the drive occurs during operation, the head and the platters can come into contact causing
both components to be damaged. The second type of shock, called non-operating shock, occurs
when the head is in the unloaded position, or not positioned over the platters. When a physical
shock occurs in the non-operating state, the head can contact the ramp it is positioned over and dam-
age the ability of the head to read and write data to the hard disk drive. All devices with hard drives
are subject to damage from operating and non-operating shock.
The mechanical construction of the 722 is designed to minimize the transmission of shock to the
hard drive. The drive is isolated from the chassis using special shock-reducing closed-cell foam. This
material increases the amount of shock the hard drive can withstand. Additional protection can be
achieved by operating the unit in a carry case.

46


If the recorder is used in applications subject to extreme motion, Sound Devices recommends recording to
CF medium only. The hard drive will park its write heads to reduce the chance of failure.

Like all electrical devices, the higher the ambient temperature the shorter the drive’s operational life.
Therefore, take care to observe the specified temperature rating.
There is also a risk from sudden temperature changes, which can create condensation inside the
drive. This condensation can lead to the drive’s read/write heads adhering to the disk surfaces
which will, in turn, stop the hard disk from rotating. Condensation tends to occur when the tempera-
ture inside the drive suddenly falls, for example, just after the unit is moved to a new position, or
after operation is stopped in a cold environment.
Sudden changes in temperature or air pressure can cause disk surface material to evaporate, which
can also cause the head to adhere to the disk surface. This can happen when a hard disk drive is left
unused for a long period of time.

Storage Medium – CompactFlash
CompactFlash (CF) is a practical, portable storage medium for audio recording. Its speed, reliability,
and price continue to evolve to the benefit of portable recorders. The 722 can write to and read from
CF as either its sole recording medium or simultaneously with the internal hard drive.

When to Use CF
The key benefits of CF include:
• wider temperature range capability than hard drives
• increased shock immunity versus hard drives
• convenient media insertion and removal
• established workflow and ubiquitous card readers and transfer tools

Formatting
Upon insertion of an unformatted (or non-FAT32 formatted) CF medium, the 722 will prompt the
user to format the card. If the card is formatted as a FAT32 volume the card will be ready for selec-
tion as a recording volume. To reformat the CF medium, follow the same procedure as formatting
the hard drive, substituting the CF menu selection for the hard drive.
Formatting the CF rebuilds the FAT (file allocation table) and erases any audio or other data files
present on the medium. While some PC utilities can recover files immediately after formatting the
drive, consider that the files have been permanently erased. FAT32 volumes generated by the 722
may not be compatible with numerous consumer electronic devices, including entry-level digital
cameras.

After recording has stopped, it may take several seconds for the 722 to finish “housekeeping” on CF.
When preparing to remove the CF, always observe the amber activity LED for the CF medium. If it is lit,
wait until it goes out before removing the CF. If the CF is removed while the LED is lit, at the very least
the file will be corrupted and there is a possibility of FAT corruption as well.

Testing
CF cards varied widely in their write/read throughput. Later generation “24x” and greater CF cards
can reliably read and write multi-track, high sample rate audio. The 722 includes a drive speed test

47


to measure the throughput speed of CF medium. Measured numbers greater than 3000 KB/s can
reliably write 24/192 audio.

Not all CF medium can sustain write speeds for reliable 192 kHz recording. Use the speed test utility to
make certain that installed medium can support the selected number of tracks at 192 kHz.

Qualified CF Cards
Several CF mediums have been tested and “approved” for use in the 7-Series, including Lexar Me-
dia, SanDisk, and Kingston Technology cards in capacities from 128 MB and above will successfully
operate in the 722. The unit will support up to 2 TB of data. It is not feasible for Sound Devices to test
all available CF cards for compatibility or maximum throughput with the 722. Use the CF transfer
speed test to verify that an installed card can support the needed read/write speed.

Storage Medium – External FireWire Drives
The FireWire port on the 722 can function in either “host” mode or “drive” mode (see File Transfer
Using FireWire for additional information on drive mode). In host mode an attached FireWire stor-
age volume such as a hard drive or DVD-RAM can be used to record and play back audio files. To
activate host mode select External Drive via the Setup Menu item FireWire: Connection.
Because the 7-Series can write to all available mediums simultaneously the abilility to write to an
external drive reduces the need for post-record copying of sound files.
External hard drive
is attached and
is selected as the
recording destination

External FireWire drives require 2.0-ready 722 hardware. Only recorders specifically labeled 2.0 ready are
able to connect to external FireWire drives as an available storage medium.

When to Use External FireWire Drives
The key benefits of recording to external drives include:
• the choice of drive types include DVD-RAM optical drive or hard drive
• near limitless recording capacity when a large volume external hard drive is attached (up to 2
TB)
• fast, no-waiting simultaneous record option
• post-record copying to quickly back up internal hard drive or CF medium

Formatting
Identical to both the internal hard drive and CompactFlash, attached FireWire drives are formatted
as FAT32 volumes. Upon connection to an unformatted (or non-FAT32 formatted) external drive, the

48


722 will prompt the user to format the drive. If the drive is already formatted as a FAT32 volume the
drive will be ready to be selected as a storage medium. The front panel drive LED will illuminate to
show which drives are available for recording. To reformat an attached drive, follow the same pro-
cedure as formatting the internal hard drive, substituting the external drive menu selection for the
internal hard drive.

After recording to an external drive has stopped, it may take several seconds for the 722 to finish “house-
keeping” on drive. This is especially true when recording to DVD-RAM disks, which generally have
slower throughput than hard drives. When preparing to disconnect a FireWire drive, always observe the
amber activity LED labeled EXT. If it is lit, wait until it is off before disconnecting the drive. If the drive
is disconnected while the LED is on, there is a high likelihood that the file being written will be unusable
and there is a possibility of FAT corruption on the drive.

FireWire Bus Powering
The six-pin FireWire port on the 722 provides power for bus-powered FireWire drives. The following
conditions should be observed when connecting to bus-powered drives.
• Bus powering a drive requires external DC powering of the 722. The 722 cannot operate bus-
powered drives from an attached Li-ion battery.
• When recording in realtime to bus-powered FireWire drives the XL-1394 FireWire Power Filter
is recommended. This filter network isolates the electrical noise in bus-powered drives from
the 722.
• While hot-swapping FireWire cables is possible it is recommended to attach bus-powered
drives with the recorder turned off.

Qualified Drives
External FireWire storage volumes that can be formatted and addressed as FAT32 can be used with
the 722. These include:
• external hard drives, bus-powered or mains powered. Drives as large as 2 TB can be addressed,
• FireWire CompactFlash card readers,
• DVD-RAM drives.
FireWire drives use a variety of chipsets to perform conversion from the drive’s native format (i.e.
IDE) to FireWire. Sound Devices has tested and qualified enclosures and card readers which use the
Oxford 911, Oxford 922, PL3507, GL711, and FW912 chipsets. Other chipsets may operate, but Sound
Devices does not officially support them. To check for compatibility with the 722 attach a FireWire
drive and run the media speed test selected from the User Menu. This will write, then read a file to
the drive. If the drive can perform this test then it can be used to record audio.

DVD-RAM Drives
DVD-RAM drives are essentially optical hard drives. Revision 2.00 firmware supports recording to
and playing back from DVD-RAM drives when formatted as FAT32 volumes.
When recording to DVD-RAM drives in realtime it is important to note the following:
1. Keep sampling rates below 48048.
2. Record to polyphonic file formats.
3. Use DVD-RAM drive mechanisms and media that support 3X recording speeds.

Post-record copying from internal hard drive (or CF) to external drives is recommended with material
recorded at high sampling rates.

49


File Transfer – FireWire

FireWire port

FireWire cable - 744T to computer

The 722’s FireWire (IEEE-1394) port makes transferring of recorded files to a computer quick and
easy. When connected to a computer, the internal hard drive and CompactFlash card of the 722 will
mount to a Mac OS X or Windows computer as a local, removable mass storage volume. Using Mac
Finder, Windows Explorer, or any other file utility, files can be copied, read, and deleted directly to
and from the 722 hard drive.

It is best practice to copy original audio files from the original recorded medium to another volume before
editing.

To mount the 722 to a computer via FireWire:
1. Stop all playback and recording activity.
2. Interconnect the 722 to a FireWire-enabled computer using an appropriate FireWire cable. No drivers
are required if the computer meets the requirements listed in Specifications.
3. Make certain that within the Firewire: Connection setup menu option
Computer/Connect has been selected.

4. The 722 will now show the screen below when successfully connected via FireWire. When connected, all
audio functionality of the 722 is defeated.

5. Navigate the drives on the computer and copy all needed audio to local storage.

To avoid possible corruption on the 722 hard drive, always properly dismount the unit from the
operating system. On Mac platforms, drag the drive icons to the trash. On Windows platforms,
use the “Disconnect External Media” icon in the system tray.

50


To disconnect the 722 from FireWire:
1. Make certain that any software applications that reference the 722 drive are closed and that all ﬁle copy
functions to and from the 722 have completed.
2. In Mac OS X highlight the drive icon on the desktop and select -e to eject the volume. Alternatively,
drag the drive icon to the trash in the dock.
2. In Windows, right-click the drive icon and select “eject.”
3. The cable between the computer and 722 can now be disconnected. If a future connection is going to be
made the cable can be left connected.

If the 722 is disconnected from the computer via an eject command and the FireWire cable is still
physically connected between the computer and recorder, the data connection can be made by enter-
ing the setup menu select Firewire: Connection. Alternatively, press the STOP key and HDD
key together to begin a FireWire connection.

Do not remove the CompactFlash card while FIREWIRE: CONNECTION appears in the LCD.

Powering
The 722 is powered from either removable, Li-ion rechargeable batteries or external DC power. The
included, removable 7.2 V Li-ion cell can be used as a primary or backup power source. The 722
automatically chooses the power source based on the voltage level of the external power supply. If
it falls below a factory-set threshold, the unit will transition to Li-ion power. The transition between
external and removable battery powering is seamless and has no affect on recording or playback
operation.
During typical operation the 722 will run for approximately four hours from the included 4800 mAh
Li-ion battery.

Lithium Ion Rechargeable Battery
The 722 is compatible with Sony-mount L- or M-type Li-ion rechargeable batteries. Numerous power
capacities are available in these battery types, ranging from 1000 mAh to 7000 mAh. The 722’s mount
accommodates unlimited battery depth. Larger amp-hour cells provide more run time.
When powered by the removable Li-ion battery the LCD displays the battery voltage. The nominal
operating voltage for Li-ion batteries is 7.2 V, with operating voltages ranging between 6.5–8.5 V.
When the battery drops to 6.5 V, the LCD voltage display and the power LED begin ﬂashing to warn
that the battery is nearly depleted. When the voltage reaches 6.3 volts the 722 will power down—any
recordings in-process will automatically be closed (stopped).

External Powering and Battery Charging
The 722 can be powered externally from 10–18 VDC (2 amp minimum). External DC fully powers the
unit and charges an attached Li-ion battery simultaneously using the 722’s onboard Li-ion charger.
The charger circuit operates whenever the unit is powered on and optionally when the unit is off,
depending on the external power wiring (see below).

51


DC input uses a 4-pin Hirose connector (Part # HR10-7P4P). There are two connection options avail-
able.

External DC Input Wiring Operation
pin-2 to negative (–) operates the on-board Li-ion charger when the unit is both turned on and off. Use when plugged
pin-3 to positive (+) into AC power
pin-1 to negative (–) operates the on-board Li-ion charger only when the unit is turned on—there is no external current
pin-4 to positive (+) draw when powered off. Use when connecting to an external battery pack
Regardless of whether pins-1 and -4 or pins-2 and -3 are used, the unit will always charge the Li-ion battery when the unit is powered on.

Pin-1 and pin-2 of the external DC input are at the same ground potential as chassis and signal ground.

The voltage level of the source powering the unit is displayed on the main LCD screen in the up-
per left-hand corner ( ). When the 722 senses a low voltage condition from an external
DC source the power LED and battery voltage display ﬂashes, to alert the user. When the external
DC reaches 9 volts, the 722 will automatically switch over to the removable battery. If no battery is
installed the unit will shut down.
The included AC-to-DC power supply operates the unit and charges the removable batteries simul-
taneously. Pins-3 and -4 are wired to (+) and pins-1 and -2 are wired to (–).
When power is applied, the charging circuit evaluates the battery condition and supplies charg-
ing current, if necessary. When charging, the amber charge LED will ﬂash. Once the battery is fully
charged, the charger will turn off and the amber charge LED will light solid, indicating a full charge.
Large capacity cells increase the charge time.

Charge LED Activity Description of Activity
Off Charger disabled
On Completed charge / battery fully charged
Blinking Charger enabled / battery is charging

If the charge LED shows anything but a successful charge, the Li-ion battery may require replacement.

Time of Day Battery
The 722 has an internal NiMH LR6 (AA) battery to power to the time-of-day clock and date. This
battery is charged simultaneously with the Li-ion battery. The AA battery holds the time of day and
date for approximately 60 days.

Auto Functions with External Powering
The 722 can perform several functions when DC power is applied to and removed from the recorder.
Options available include:
• Power on unit – unit will turn on and be ready for operation.
• Power on and begin recording – unit will power on and begin recording with the settings
used when previously powered down.
• Power on, power off unit – external DC functions as the on/off switch.
• Power on and begin recording, power off – unit will power and begin recording, then turn off
when power is removed.
These functions are useful when the unit is part of a production kit powered by a single power
source. A single power switch can be used to power on the whole kit.

52


In addition to the internal record timer, the auto functions (power on/begin record/power off) can
be used for more extensive unattended recording control. Using an outboard timer attached to a DC
supply the 722 can be placed and activated to record events including EFX or nature, and for surveil-
lance applications.

Pin-3 (+) of the external DC input must be wired in order for the External Power Functions to operate.

Power-up Messages
This Setup Menu option provides a choice of whether or not the 7-Series displays messages upon
boot up. It is best practice to set Power: Power-up Messages to disabled when using the exter-
nal power functions to activate recording. This prevents power up messages, such as daily folder
prompts, output attenuation notices, and time and date setting notices, from prohibiting the 7-Series
from beginning a recording

Power Consumption Variables
The 722 draws power from either its on-board Li-ion battery or from external DC sources. Two fac-
tors need to be considered to calculate battery runtime—battery/power supply capacity and unit
power consumption. The best determination of your run time is to experiment with a given record-
ing setup.
The 722 power consumption varies over a range between 4 W to 20 W (12 volts), depending on ac-
tive functions. The following functions have the most signiﬁcant affect on power consumption:

Inputs Active analog inputs increase power consumption. If recording from digital sources, disable analog inputs,
or inputs altogether to reduce power consumption. If recording solely to inputs 1 and 2, disable inputs 3
and 4 to reduce power consumption. Analog inputs and the microphone preamps draw current whether
they are idle or active. Active inputs draw 1.5 W compared to deactivated inputs.
Microphone Powering Phantom powered microphones draw power for operation. Up to 1 W can be drawn from the phantom
supply.
Battery Chargers Depending on the charge state of the on-board Li-ion and the internal AA time code battery, the charging
circuit can draw ~10 W from external DC.
Sampling Rate The 722 draws more power at higher sampling rates. Each doubling of the sampling rate adds ~1 W of
power consumption.

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Firmware Upgrades
The 722 uses upgradable EEPROM (electrically erasable programmable read-only memory) to hold
the unit’s operating system software, or firmware. Firmware is the source code which controls all
aspects of the device, including: signal routing, signal processing, menu options, LED’s, controls,
and data ports.

Version Information
During manufacturing the unit’s hardware revision number and serial number are burned into a
protected area of the EEPROM. This information is not modifiable. These numbers are viewed in the
Info:Version selection of the setup menu. Info:Version also shows the firmware version of the
recorder.

The current firmware revision number is also displayed on the bottom right-hand corner of the
Sound Devices splash screen at boot up (v2.65+). The 722 firmware version and unit serial numbers
are written to the data chunk of every WAV audio file generated by the 722.

Upgrade Process
From time to time Sound Devices may issue revisions (new versions) of firmware for the 722. Firm-
ware is user-upgradeable. To upgrade firmware follow the steps below.
1. Download the firmware file from the Sound Devices web site.
2. Transfer the firmware file (it will be named version _ number.prg) to the 722 internal hard drive via
FireWire or onto a CF card. If there are multiple firmware files on the media, the 722 will select the first
firmware file available. There is no provision to skip to the next file. To prevent confusion, ensure that
there is only one firmware file available on any 722 media.
3. Enter the firmware upgrade menu. You will be prompted to search for the firmware file. If a valid
firmware file is present on either the internal hard drive or CF the recorder will prompt if the path is
the proper file to use. Press the Rotary Switch or the tone key to say yes. The 722 will begin firmware
upgrade and validation. Progress is indicated with a bar graph.

4. When the upgrade and verify process is complete, power cycle the 722. On power-up the LCD will turn
solid black and the green LED next to the FireWire port will blink 20 times. When the update sequence
is complete, the 722 will reboot once again.
5. Verify the firmware version using the Info:Version menu.
6. Reset the time-of-day clock to the present time and date.

Firmware upgrades are designed to preserve all user menu settings. As a precaution, we recommend sav-
ing the present state as a setup file on the hard drive or CF. Once a firmware upgrade is complete, restore
settings from this file, if necessary.

54


CL-1 Remote Control and Keyboard Interface
The CL-1 Remote Control and Keyboard Interface is an available hardware accessory to interface
with PS/2 compliant computer keyboards and enable external devices to control the 722. When us-
ing the CL-1, front panel controls and menu selections on the 722 can be mapped to keyboard short-
cuts, allowing for full keyboard control of the recorder. Additionally the CL-1 has contact closures for
programming remote inputs or outputs. These are commonly used for machine control and “remote
rolling” using a mixing console with transport controls.

Connecting the CL-1
1. Connect the included C. Link cable to the 722’s C. Link Input connector.
2. Connect the opposite end of the C. Link cable to the CL-1’s C. Link connector.
3. Connect a PS/2 keyboard to the PS/2 connector on the CL-1.
4. Connect switches between assigned pins 1-6, pin-7 (ground), and pin-8 (+5V) on the CL-1. (See Logic
Inputs and Outputs)
The C. Link port on the 722 provides power for CL-1 operation.

Keyboard Assignments
Standard keyboard shortcuts have been pre-assigned and are listed below.
Menu Keys
Shortcut Key Function
Space Bar Enters Playback Mode
Pauses take in Playback Mode
Escape Cancel – Exits without saving in all menus
Enter Ok – Exits with saving in all menus (Check Mark or Edit)
Up Arrow Mirrors the LCD Up Arrow in all menus
Down Arrow Mirrors the LCD Down Arrow in all menus
Left Arrow Mirrors the LCD RWD Arrow in all menus
Custom Route User Interface – Un-assign Route
Time Menu – Moves to previous field
Right Arrow Mirrors the LCD FFWD Arrow in all menus
Custom Route User Interface – Assign Route.
InRoute User Interface – Edit if on ‘Custom Route’
File User Interface – Selects Options for Folders/Files when displayed
Shortcut Edit User Interface – Edit shortcut if on shortcut number
Scene/Track Lists – Edits (Same as hitting Play button)
Time Menu – Moves to next field.
CTRL + Up Arrow Setup User Interface Menu - Moves to the previous category
CTRL + Down Arrow Setup User Interface Menu - Moves to the next category
Page Up Setup User Interface Menu - Moves to the previous category or marker
Page Down Setup User Interface Menu - Moves to the next category or marker
Shortcut Edit User Interface Menu – Same as Enter
Menu Enters the Setup Menu
Home Setup User Interface Menu - Moves to the top of the list.
File User Interface – Moves to the top of the list
Shortcut Edit User Interface – Goes to first shortcut number or Hot Key
String User Interface – Goes to the beginning of the string

55


End Setup User Interface Menu - Moves to the bottom of the list.
Shortcut Edit User Interface – Goes to last shortcut number or Hot Key
String User Interface – Goes to the end of the string being edited
Delete Scene/Track Lists – Deletes entry when permitted
String User Interface – Deletes character when permitted
Insert Setup User Interface Menu - Toggles Markers
String User Interface – Inserts a space when permitted
Custom Assignment Shortcut Edit User Interface Menu - Selects Hot Key In Set Key Mode
“Hot Key” Global - Executes Command if function is assigned to Hot Key
01 - 99 (number sequence) Setup User Interface Menu – Jumps to menu list number.
Shortcut User Interface Menu – Jumps to shortcut number.

String Edits & Take Name/Number (Renaming & Notes)
Hot Key Function
ASCII Characters Scene – Prints Character and moves to next character.
Take – ‘0-9’ – Prints Number, ‘A-Z’ – Prints Spacer
Backspace Deletes previous character and moves one character to the left
Delete Deletes currently selected character
Take – Same as ‘Reset’ (Play Button)
Enter Carriage Return if permitted, otherwise
Ok – Exits with saving
CTRL + Enter Ok – Exits with saving. (Only when Carriage Return is permitted.)
Insert Inserts a space when permitted
Escape Cancel – Exits without saving in both menus

Up Arrow Increment Character in both menus
Down Arrow Decrement Character in both menus
Left Arrow Previous Character in both menus
Right Arrow Next Character in both menus
Home Goes to the beginning of string being edited
End Goes to the end of the string being edited

Assignable Shortcuts
Keyboard shortcuts can be programmed to control nearly every function on the 722. Shortcuts can
select and change menu items with a simple key strokes. Combinations of computer keyboard func-
tion keys, along with Control-, Alt-, and Shift- can also be programmed. The following chart shows
what keys are programmable.

Hot Key Key Shift- Ctrl- Alt-
F1-F12 X X X X
0-9 - - X X
A-Z - - X X
Logic In 1-6 X - - -

To program a shortcut perform the following steps:
1. Enter the External Keyboard Assignment Setup Menu selection.

Shortcut number. Up
to 50 shortcuts can be
programmed

56


2. Select an unassigned shortcut number for programming. If a duplicate key sequence is selected the low-
est shortcut number action takes place. The example below shows the F1 key being reprogrammed.

3. After selecting a key sequence select the desired Setup Menu item or action. The example below shows
the reprogramming of the F1 key to change the sampling rate to 48048.
Specific Setup Menu
options can be
programmed if multiple
options are available.

If a single key or key combination is programmed for multiple shortcuts, the shortcut with the lowest
number will take precedence.

Shortcut List Functionality
The shortcut list is a user deﬁnable list of keyboard keys/Logic In that perform speciﬁed actions.
The actions that a keyboard key can perform are listed in the below table. Macros are currently not
implemented.

Action Function
Momentary Button Logic In only. Simulates selected button. Can simulate in any menu
Toggle Button Logic In only. Toggles state of selected button. Play and Record are supported
Open Menu Opens a SetupUI Menu
Cycle Settings Cycles a SetupUI parameter to the next setting and saves it
Set Settings Sets a SetupUI parameter to the given setting and saves it
Open Time Code Menu Opens the TimeCode: Jam Menu and goes to the given parameter
Jam Time Code Item Jams given TimeCode parameter
Edit Time Code Item Opens the TimeCode: Jam Menu Edit screen for the given parameter
Button Shortcuts Simulates a front panel button shortcut. Ex: (Stop+Play) opens TakeList Menu

Logic Inputs and Outputs

Identical to shortcuts assigned to computer keyboard key sequences, the CL-1 has six contacts that
can be programmed to perform Setup Menu items or control the record, play, and stop functions of
the recorder. A switch connected between the assigned pin and ground (pin-7) will form a circuit.
Closing the circuit will activate the programmed action.
The Logic pins on the CL-1 can be set individually as either a switch-closure input or a switch clo-
sure output. The inputs and outputs are “logic low” devices, meaning that to turn “on” an input, it
must be connected to ground (zero volts). Likewise, when an output is “on”, it puts out 0 volts and
when it is “off”, it puts out +5 volts.

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Logic Inputs
Configured as a switch-closure input, a pin can be connected to a switch that a user has wired to
assigned contact. This switch can then trigger the 744T to begin recording. Other functions can be
assigned as well from the Setup Menu. The switch-closure on a given pin of the CL-1 can be thought
of as just another key on the keyboard. Anything that can be assigned to a key can also be assigned
to a switch.
To configure a pin as an input, navigate to Ext Keyboard Assign in the Setup Menu. Select
a new Shortcut number, then locate the Login inputs amongst the assignable keys. Choosing
Logic In 1 would correspond to pin 1 on the CL-1, Logic In 2 would correspond to pin 2 on
the CL-1, and so on. After a Logic input is chosen assign the desired action that the Logic input will
control.

Logic Outputs
Configured as a switch-closure output, the CL-1 can drive LEDs, relays, or any other sort of device
which will accept a TTL-level or similar input. For example, the CL-1 can drive a big red LED con-
nected via a series resistor between the +5V output and a switch-closure output and light up when-
ever the recorder is put into record mode.
To configure a pin as an output, go to CL-1: Logic Out Assign in the Setup Menu. The Logic
Pin number is on the left hand side (“00”, “01”, etc). Each of these pins can be assigned to un-
defined, Stop, Play, Record, or Pause. Note that if a pin is assigned to be both an input (via the
Ext Keyboard Assign Setup Menu) and an output (via the CL-1: Logic Out Assign Setup
Menu), the pin will automatically default to an output.

Setup Menu Presets
Presets are useful shortcuts to speed setting the numerous parameters available in the setup menu.
The 722 has four built-in presets and one user preset per media.

Built-In Presets
The 722 is shipped from the factory with the factory preset applied. Its settings are listed below.
Three additional presets, film, reporter, and music presets allow for quick setup of typical param-
eters for the defined application. Presets are applied by entering the setup menu and selecting the
preset. All previous settings are lost when a preset is applied.

722 Presets Factory Preset Film Reporter Music
Preset Preset Preset
Rec: FireWire Connection External Drive External Drive Computer Connect Computer Connect
Rec: Sampling rate 48 kHz 48 kHz 44.1 kHz 44.1 kHz
Rec: Bit Depth 24 bits 24 bits 16 bits 16 bits
Rec: File Type .wav poly .wav mono .wav mono .wav poly
EXHDD and INHDD EXHDD and INHDD
Rec: Media Select INHDD only INHDD only
and CF and CF
Rec: Scene Name/Number None None None None
Track A: Track A Track A: Track A Track A: Track A Track A: Track A
Rec: Track Names
Track B: Track B Track B: Track B Track B: Track B Track B: Track B
Rec: Take Name/Number T 01 T 01 T 01 T 01
When Scene is
Rec: Take Reset Mode When Scene is changed When Scene is changed When Scene is changed
changed

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Rec: Pre-Roll Time 2 Sec 2 Sec 2 Sec 2 Sec
Rec: Dither Off Off On On
Rec: Timer Start Disabled Disabled Disabled Disabled
Rec: Timer Stop Disabled Disabled Disabled Disabled
Rec: Record Indicator Normal Numbers Normal Numbers Normal Numbers Normal Numbers
Rec: Record Pause Disabled Disabled Disabled Disabled
Input: Routing 1->A / 2->B 1->A / 2->B 1->A,B / 2->A,B 1->A / 2->B
Input 1: 48V Phantom Off On - Mic On - Mic On - Mic
Input 2: 48V Phantom Off On - Mic On - Mic On - Mic
Mic Inputs: Limiter Enabled Enabled Enabled Enabled
Mic Input 1: Low Cut Disabled Disabled Enabled Disabled
Mic Input 2: Low Cut Disabled Disabled Enabled Disabled
Mic Input 1: Low Cut Frequency 40 Hz, 12 dB/oct 40 Hz, 12 dB/oct 40 Hz, 24 dB/oct 40 Hz, 12 dB/oct
Mic Input 2: Low Cut Frequency 40 Hz, 12 dB/oct 40 Hz, 12 dB/oct 40 Hz, 24 dB/oct 40 Hz, 12 dB/oct
Mic Input 1: Gain Range Normal Normal Normal Normal
Mic Input 2: Gain Range Normal Normal Normal Normal
Input 1,2: Source Auto Select Auto Select Auto Select Auto Select
Input 1,2: Linking, MS Unlinked Unlinked Unlinked Linked 1,2
Line Input 1,2: Gain Ctrl Use Front Panel Knobs Use Front Panel Knobs Use Front Panel Knobs Use Front Panel Knobs
Input 1: Delay 0 mS 0 mS 0 mS 0 mS
Input 2: Delay 0 mS 0 mS 0 mS 0 mS
File: Marker Mode New File New File New File New File
File: Max Size 2G CF (1.8 GB) 2G CF (1.8 GB) 2G CF (1.8 GB) 2G CF (1.8 GB)
File: Folder Options None None None None
File: Copy Files Copy all INHDD> CF Copy all INHDD > CF Copy all INHDD > CF Copy all INHDD > CF
File: Copy Flag Reset Enabled Enabled Enabled Enabled
Time Counter: Display Big A-Time Big A-Time Big A-Time Big A-Time
Time Counter: Mode Off Off Off Off
Output1 Left: Source Track A Track A Track A Track A
Output1 Right: Source Track B Track B Track B Track B
Output1 L,R: Attenuation 0 dB 0 dB 0 dB 0 dB
Output2 Left: Source Track A Track A Track A Track A
Output2 Right: Source Track B Track B Track B Track B
Output2 L,R: Attenuation 0 dB 0 dB 0 dB 0 dB
Digital Output: Mode Consumer Consumer Consumer Consumer
Play: AutoPlay Mode Play All Play All Play All Play All
Time/Date: 12/24 Hr 12 Hr 12 Hr 12 Hr 12 Hr
Time/Date: Date Format MM/DD/YY MM/DD/YY MM/DD/YY MM/DD/YY
LCD Contrast 50% 50% 50% 50%
LCD: Gain Display Bit Depth, SR & Gain Bit Depth, SR & Gain Bit Depth, SR & Gain Bit Depth, SR & Gain
LCD: Scrolling Direction Normal Normal Normal Normal
Meter: Ballistics Peak Hold + VU Peak Hold + VU Peak Hold + VU Peak Hold + VU
Meter: Peak Threshold 0 dBFS 0 dBFS 0 dBFS 0 dBFS

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Meter: Stealth Mode Off Off Off Off
HP: Rotary Sw Function Selects Favorite Mode Selects Favorite Mode Selects Favorite Mode Selects Favorite Mode
01> Inputs 1,2 01> Inputs 1,2 01> Inputs 1,2
02> Tracks A,B 02> Tracks A,B 02> Tracks A,B
HP: Monitor Modes 03> Input 1,1 03> Input 1,1 01> Tracks A,B 03> Input 1,1
04> Input 2,2 04> Input 2,2 04> Input 2,2
05> Monitor A,B 05> Monitor A,B 05> Monitor A,B
HP: Favorite Mode Tracks A,B Tracks A,B Tracks A,B Tracks A,B
HP: Playback Mode Tracks A,B Tracks A,B Tracks A,B Tracks A,B
HP: Warning Bell -30 dBFS -30 dBFS -30 dBFS -20 dBFS
HP: Record/Stop Bell Disabled Disabled Disabled Disabled
Tone: Level -20 dBFS -20 dBFS -20 dBFS -12 dBFS
Tone: Frequency 1000 Hz 1000 Hz 1000 Hz 1000 Hz
To Rec Tracks and To Rec Tracks and To Rec Tracks and To Rec Tracks and
Tone: Mode
Outputs Outputs Outputs Outputs
Tone: Record Lock Locked while Recording Locked while Recording Locked while Recording Locked while Recording
INHDD: Empty Trash Empty Trash Empty Trash Empty Trash Empty Trash
CF: Empty Trash Empty Trash Empty Trash Empty Trash Empty Trash
EXHDD: Empty Trash Empty Trash Empty Trash Empty Trash Empty Trash
Power: Ext Low Batt Volt 11.0 volts 11.0 volts 11.0 volts 11.0 volts
Power: Ext Power Function Do Nothing Do Nothing Do Nothing Do Nothing
Power: Power-up Messages Enabled Enabled Enabled Enabled
F1 > Record F1 > Record F1 > Record F1 > Record
F2 > Stop Button F2 > Stop Button F2 > Stop Button F2 > Stop Button
F5 > Rewind Button F5 > Rewind Button F5 > Rewind Button F5 > Rewind Button
F6 > Play Button F6 > Play Button F6 > Play Button F6 > Play Button
F7 > Fast Forward F7 > Fast Forward F7 > Fast Forward F7 > Fast Forward
Button Button Button Button
Ext Keyboard: Assign
CTRL + C > File: Copy CTRL + C > File: Copy CTRL + C > File: Copy CTRL + C > File: Copy
Files Last 24Hr CF > Files Last 24Hr CF > Files Last 24Hr CF > Files Last 24Hr CF >
EXHDD EXHDD EXHDD EXHDD
CTRL + H > File: Copy CTRL + H > File: Copy CTRL + H > File: Copy CTRL + H > File: Copy
Files Last 24Hr INHDD Files Last 24Hr INHDD > Files Last 24Hr INHDD Files Last 24Hr INHDD
> EXHDD EXHDD > EXHDD > EXHDD
Ext Keyboard: Langauge English English English English
CL-1: Re-Program CL-1 Module CL-1 Module CL-1 Module CL-1 Module
CL-1: Logic Out Assign (Undefined) (Undefined) (Undefined) (Undefined)

User Setups
All of the set parameters in the table above can be saved in a file to internal hard drive or to CF card.
By entering the Get/Save Setup Menu, the user can save or retrieve parameters to a data file. This
binary file is named 722.SUP and is saved in the SOUNDDEV folder on the selected medium.

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Setup Menu
The setup menu controls a wide range of parameters for the 722, including all audio routing and re-
cording settings. The setup menu is a single, ﬂat architecture with no sub-menus, easing navigation.
Each setup controls a speciﬁc parameter with several selections. The chart below shows the setup
number, a description of the control, and the menu options available.

# Setup Name Setup Description Setup Options
1 Quick Setup Allows the user to quickly apply default menu setups • Load Factory Settings
and save/retrieve user setups to disk or CF. - restores the factory default settings
• Load Film Settings
- applies typical setups for film production
• Load Reporter Settings
- applies typical setups for voice recording
• Load Music Settings
- applies typical setups for music recording
• Load User from INHDD
- applies settings saved by user to hard disk
• Load User from CF
- applies settings saved by user to CF
• Save User to INHDD
- saves present state to file on hard drive
• Save User to CF
- saves present state to file on CF
2 FireWire: Connection Activates FireWire drive mode. • Computer/Connect (STOP+HDD buttons)
• External Drive
3 Rec: Sample Rate Sets the audio sampling frequency of the 722 • 32 kHz • 88.2 kHz
• 44.1 kHz • 96 kHz
• 47.952 kHz • 96.096 kHz
• 47.952k F • 96.096 k F
• 48 kHz • 176.4 kHz
• 48.048 kHz • 192 kHz
• 48.048k F

4 Rec: Bit Depth Sets the bit depth of the 722 recordings. • 16 bit,
• 24 bit
5 Rec: File Type Selects the file format (type) recorded to the selected • .wav poly • .MP3 320 kb/s
medium. • .wav mono • .MP2 64 kb/s
• .flac • .MP2 96 kb/s
• .MP3 32 kb/s • .MP2 128 kb/s
• .MP3 64 kb/s • .MP2 160 kb/s
• .MP3 96 kb/s • .MP2 192 kb/s
• .MP3 128 kb/s • .MP2 256 kb/s
• .MP3 160 kb/s • .MP2 320 kb/s
• .MP3 192 kb/s • .MP2 384 kb/s
• .MP3 256 kb/s

6 Rec: Media Select Selects the storage media used for recording. Media is • INHDD Only • INHDD and CF
selectable even if it is not present. • CF Only • EXHDD and INHDD
• EXHDD Only • EXHDD and CF
• EXHDD and INHDD and CF

7 Rec: Scene Name/Number User-defined, alpha-numeric file scene names can be pre-set <up to 9 alpha-numeric characters can be
and selected from a list. Scene name lists can be saved to entered for the scene name>
hard drive. Scene name can also be left blank
8 Rec: Track Names used to identify a track name which shows up in iXML • Mix
• Track A
and BWF metadata • Boom
• Track B
• Track C • <Add New Entry>
• Track D • <Load List From INHDD>
• <Save List From INHDD>

9 Rec: Take Name/Number Numeric, auto-incrementing number used for take <selectable alpha character + integers up to
identification. 32000, with or without preceding 0’s>

61


10 Rec: Take Reset Mode Defines when take numbers are reset. Reset brings • Never
take number to <1>. - take numbers do not reset
• When scene is changed
- take resets when scene name is changed
• When daily folder changes
- takes reset on new day
• Either scene or daily
- takes reset on either change
11 Rec: Pre-Roll Time Selects the amount of pre-roll time the 722 will add to 0–10 sec. @ 48 kHz
the beginning of each file. 0–5 sec. @ 88.2–96.096 kHz
0–2 sec. @ >96.096–192 kHz
12 Rec: Dither Selects whether to dither is added to 24 bit digital • Off
signals while recording 16 bit files. • On (16 bit only)
13 Rec: Timer Start Sets a specific start time/date for unattended record- <enter time, date>
ing. Unit must be powered.
14 Rec: Timer Stop Set a specific time/date to stop recording. May be <enter time, date>
used with or without the Rec: Timer Start. May be set
before the Timer Start time to temporarily stop record-
ing and then resume recording with Timer Start.
15 Rec: Record Indicator Sets how the large display looks when the unit enters • Normal Numbers
record. • Reverse Numbers
• Flash Numbers
16 Rec: Record Pause Allows a recording to be stopped then continued • Disabled
without creating a new take or file. Time Counter Mode • Enabled
must be set to Off to enable Record Pause.
17 Input: Routing Allows the user to setup their routing matrix among all •1 A
available inputs and tracks. There are preset routings •1 A/2 B
and three custom routings available. Pressing the •1 A/1 B
input select key repeatedly will cycle through all preset • 1 A,B / 2 A,B
routings. • Custom Route 1
Primarily accessible from the Input Select Key. • Custom Route 2
• Custom Route 3
18 Input 1: 48V Phantom Enables or disables 48 V phantom power on inputs 1 • Off
19 Input 2: 48V Phantom and 2. • On - Mic
• On - Mic and Line
20 Mic Inputs: Limiter Enables or disables the analog input limiter on input 1 • Disabled
and 2 mic preamps. • Enabled
21 Mic Input 1: Low Cut Enables the high-pass (low cut) filter to reduce sensi- • Disabled
22 Mic Input 2: Low Cut tivity to low frequencies. • Enabled
23 Mic Input 1: Low Cut Freq Selection of twelve high-pass filter frequency and • 40, • 80, • 160, • 240 Hz @ 12 dB/oct
24 Mic Input 2: Low Cut Freq slope combinations for microphone inputs. • 40, • 80, • 160, • 240 Hz @ 18 dB/oct
• 40, • 80, • 160, • 240 Hz @ 24 dB/oct
25 Mic Input 1: Gain Range Selects the sensitivity of the microphone input. Low • Normal
26 Mic Input 2: Gain Range sensitivity is used for very loud and/or very hot • Low
microphones. • Normal, fades to off
• Low, fades to off
27 Input 1, 2: Source Forces the inputs to analog or digital mode. • Auto-select
• Analog
• Digital (S/PDIF/AES)
• Disabled (Power Save)
28 Input 1,2: Linking, MS Selects whether the input 1 & 2 levels are controlled • Unlinked
independently or grouped as a pair with or without Inputs 1 and 2 operate independently
mid-side decoding. • Linked 1/2
Inputs are linked, channel 1 pot controls level,
channel 2 pot controls pan
• Linked 1/2 and MS
Inputs are linked, channel. 1 pot controls level,
channel. 2 pot controls pan and are decoded for
MS stereo.

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29 Line Input 1,2: Gain Control When inputs 1 and 2 are in LINE input mode, selects • Use front panel knobs
whether the gain setting is controlled by the front • Use sensitivity settings
panel knobs or by the menu sensitivity settings below.
30 Line Input 1: Gain Adjusts the input sensitivity of line-level inputs when Adjustable from -6 dB to +18 dB in 0.1 dB steps.
31 Line Input 2: Gain set to Use Sensitivity Settings.
32 Input 1: Delay Sets a digital delay for each input. Can be used to 0 to 30 milliseconds, 0.1 mS increments
33 Input 2: Delay compensate for delay in various digital wireless micro- 0 mS to 30,000 mS up to 48.048 kHz Fs
phone units or digital processors. 0 mS to 15,000 mS up to 96.096 kHz Fs
0 mS to 7,500 mS up to 192 kHz Fs
34 File: Marker Mode Enables the user to set cue points on the fly while • Markers disabled
recording by pressing the record key. No cue marks are set.
• New Cue
Cue markers will be set within one contiguous
file.
• New File
A new file is started with each press of the record
key, the take counter is increased by one.
35 File: Max Size Selects the file size where the 722 will close, then • 4 GB CF (3.6 GB)
start a new file. The 722 will not record a file larger • 2 GB CF (1.8 GB)
than the selected size. • 1 GB CF (950 MB)
The largest file permissible with the 722’s FAT32 file • 512MB CF (450 MB)
system is 4 GB
36 File: Folder Options Allows user to organize files in root and sub-folders. To • TOP-LEVEL <None>, <Add new entry>
not use any folders select <None> on every level. • MID-LEVEL <None>,<Add new entry>, <Daily>
• BOTTOM-LEVEL <None>, <Add new entry>, <Scene>

37 File: View Files Enters the file directory tree for the selected drive. Highlight media descriptor to navigate the menu
38 File: View Take List Allows user to view the last 200 takes. Takes can be • Circle
selected and converted to circle takes.
39 File: Copy Files Allows the user to select a file or a range of files to • Copy all {drive} {drive}
be copied from one storage media to another. Files • Last 24 hr {drive} {drive}
will only be copied from their current directory to a
directory of the same name on the other media. If a • Last 48 hr {drive} {drive}
file will not fit on the destination media, user is given • Flagged {drive} {drive}
the option to skip that file and continue with the copy
or abort the copy all together. User is advised at the All files, when recorded, automatically have their
end of the copy process how many files were copied flag bit set to “on”
successfully.
40 File: Copy Flag Reset Selects whether the flag bit is cleared or not on files • Disabled
copied from one media to another. • Enabled
41 Time Counter: Display Sets the numbers of the large numerical display. • Big A-time
• Big 24 hour time
42 Time Counter: Mode When set to 24 hour, the time counter is displayed • Off
on the main LCD display. The time counter value is • 24 hour
derived from the 722 time of date clock. Recorded files
are stamped in metadata according to that value.
43 Output 1 Left: Source Selects the signal source for the Master Output Bus • Input 1
44 Output 1 Right: Source (TA3 Outputs and Tape Outputs). • Input 2
• Track A
• Track B
• Input 1+2
• Track A+B
45 Output 1 L,R: Attenuation Selects the attenuation level of signal sent to the Selectable from 0 to −40 dBFS
Master Output Bus.

63


46 Output 2 Left: Source Selects the signal source for output bus 2 sent to • Input 1
47 Output 2 Right: Source digital output bus 2. • Input 2
• Track A
• Track B
• Input 1+2
• Track A+B
48 Output 2 L,R: Attenuation Selects the attenuation level of the signal output to Selectable from 0 to –40 dBFS
bus 2.
49 Digital Output: Mode Selects whether or not the consumer SPDIF bit is ap- • Consumer
plied or not in the AES3id output. • Professional
50 Play: AutoPlay Mode Allows user to play file(s) consecutively from selected • Disabled
directory, one time through or continuously. • Play all
Great for playing an MP3 collection during down time! • Repeat one
• Repeat all
51 Time/Date: 12/24 Hr Selects between 12 hour and 24 hour time. • 12 hr
• 24 hr
52 Time/Date: Date Format Selects the date syntax of the recorder. • mm/dd/yy
• dd/mm/yy
53 Time/Date: Set Sets the internal date and time of the 722. <time, date>
Resetting the time re-jams the internal time code Clock is not set until <done> is selected
generator to the set time. Setting the internal clock
during a production day will require time code devices
to be re-jammed.
54 LCD: Contrast Adjusts the contrast level of the LCD display. 0–100%
55 LCD: Gain Display Sets the Main LCD Display to show the gain values • Bit Depth, SR & Gain
of inputs 1 and 2 always or to show Bit Depth and • Gain Only
Sample Rate and Gain of input 1 and 2 only when
attenuated.
56 LCD: Scrolling Direction Defines the direction in which the Multi-Function • Normal
Rotary Switch will navigate throughout the 722. • Reverse
57 Meter: Ballistics Selects among five different meter ballistics settings • VU only • Peak+VU
• Peak only • Peak-hold + VU
• Peak-hold only

58 Meter: Peak Threshold User-set level in dBFS where track peak LED’s illumi- 0 to −20 dBFS (1 dB increments)
nate. 0 LED doubles as track peak indicator.
59 Meter: Stealth Mode Enables LEDs to toggle on and off with the LCD • Off
backlight key. • On
60 HP: Rotary Switch Function Selects the functionality of the Rotary Switch’s button • Disabled:
when in record and playback. push makes no change to the headphone matrix.
• Selects Favorite Mode:
in record and playback modes, push will change
the headphone source immediately to the favorite
selected in HP: Favorite Mode.
• Playback/Monitor Drive Select
Selects the media source for file playback and
record monitoring
61 HP: Monitor Modes Select the sequence of the modes that appear in the Up to 20 source selections can be entered in any
Headphone Source Display on the LCD. order. See headphone monitor section in guide
for adjustment and Favorite Mode below for list of
headphone selections.

64


62 HP: Favorite Mode Selects the audio source monitored when the Rotary Inputs 1,2
Switch is pressed during recording or playback. Tracks A,B
Monitor A,B
Input 1,1
Input 2,2
Track A,A
Track B,B
Monitor A,A
Monitor B,B
Inputs 1,2 (MS)
Tracks A,B (MS)
Monitor A,B (MS)
Inputs 1+2,1+2
Tracks A+B,A+B
63 HP: Playback Mode Selects the audio source sent to headphones upon • No change
playback. • Same as options listed above
64 HP: Warning Bell Level Set the output level of the multi-function warning bell. Off, −60 to –12 dBFS in 1 dB steps
65 HP: Rec/Stop Bell Alerts the user with one beep at the start of recording • Disabled
and two beeps when the recording is stopped • Enabled
66 Tone: Level Set the output level of the reference tone −40 to 0 dBFS in 1 dB steps
67 Tone: Frequency Allows the user to set the frequency of the reference 100–10,000 Hz in 10 Hz steps
tone oscillator
68 Tone: Mode Select the destination of the reference tone or to • disabled
disables it completely • to record tracks only
• to outputs only
• to record tracks and outputs
69 Tone: Record Lock Sets the Tone key to be either available or locked while • Enabled While Recording
in Record Mode. • Locked While Recording
70 Drive: Speed Tests Performs a write/read speed test on the internal hard Caution: Drive test will disable processing and
drive, CompactFlash, and external drives. Data trans- mute outputs for duration of test. Outputs will not
fer speed is measured in KB/s. return until test is exited.
71 INHDD: Space Shows the drive file system, total size, and space
remaining on the internal hard drive.
72 INHDD: Erase / Format Formats the internal hard drive. • Empty Trash
Caution, while various PC utilities are able to recover • Empty False Takes
files from a re-formatted drive, once formatted old • Empty both
audio data is not accessible by the 722.
73 INHDD: Empty Trash Allows user to delete files previously sent to the trash
as well as false takes.
74 CF: Space Shows the drive file system, total size, and space
remaining on connected CompactFlash medium.

75 CF: Erase / Format) Formats installed CompactFlash medium
Caution, while various PC utilities are able to recover
files from re-formatted drives, once formatted, old
76 CF: Empty Trash Allows user to delete files previously sent to the trash • Empty Trash
as well as false takes. • Empty False Takes
• Empty both
77 EXHDD: Space Shows the drive file system, total size, and space
remaining on connected Compact Flash medium.

78 EXHDD: Erase / Format Formats attached FireWire storage volume
Caution, while various PC utilities are able to recover
files from re-formatted drives, once formatted, old

65


79 EXHDD: Empty Trash Allows user to delete files previously sent to the trash • Empty Trash
as well as false takes. • Empty False Takes
• Empty both
80 Balance Cal Calibrates the center position of the input 2 pot when Place balance control to center and press to
used as the balance control for MS recording. select.

81 Power: Ext Low Batt Volt Sets the warning voltage of the low battery alert with 10.0–18.0 VDC, 0.1 V steps
an external power source. Internal battery warning
threshold is factory set.
82 Power: Ext Power Function Controls the behavior of the unit when power is ap- • Do Nothing
plied to the external DC jack. • Power On Unit
Pin-3 (+) of the external DC input must be wired in • Power On and Start Record
order for the External Power Functions to operate. • Power On/Off unit
• Power On/Off unit and Record
83 Power: Power-up Messages Enables or disables the notifications that appear upon • Disabled
boot up (daily folder prompt, output attenuation notice, • Enabled
and set time and date message). Disabling these
messages is useful when using the External Power
Functions to power on and start recording and the
Record Start and Stop Timer.
84 Ext Keyboard: Assign Enter to setup keyboard shortcuts when using the
CL-1 keyboard interface
85 Ext Keyboard: Language Select the language of the keyboard attached to the • English
CL-1. • German
• French
86 CL-1: Re-program The CL-1 has its own firmware which is supplied from
the 722. This utility updates the CL-1 firmware.

87 CL-1: Logic Out Assign Each logic output pin can be assigned to go high when • Undefined
the unit is in the selected mode. Logic input overrides • Stop
logic output selection. • Play
• Pause
• Record
88 Info: Button Shortcuts An informative menu showing the available keyboard
shortcuts.
89 Info: Version Shows the hardware revision, serial number, and
firmware version of the unit.
90 Update Software Upgrade tool used to apply new firmware. It will search
all connected storage for the firmware file and prompt
to update.

Setup Menu Shortcuts
The Setup Menu can be quickly navigated using the Rotary Switch to move up and down through
the menu. Additionally, shortcuts, or “breadcrumbs” can be placed on often-used menu items. A
breadcrumb is set by holding the play button when at a selected menu item. A small dot is shown to
the left of the setup number. Any number of breadcrumbs can be set, but their utility is reduced with
too many applied.
toggles among menu bread press and hold to set or remove a menu crumb; single toggles among menu bread
crumbs to lower numbered items press navigates to menu item #1 crumbs to higher numbered
with no bread crumbs placed, items
moves to a previous general with no bread crumbs placed,
menu section moves to the next general menu
section

66


Front Panel Button Shortcuts
To speed navigation the 7-Series has numerous navigation “shortcuts”. For combinations, hold down
the ﬁrst identiﬁed key and continue to hold while pressing the next keys.

Function Key Sequence Action
Record Tone Record and Tone
+ In the menu File: Marker Mode must be set to Markers Disabled. While record-
ing hold the REC button and press the tone button. Tone will be active as long
as the tone button is held.
Jam Menu Menu and HDD
+ Enters the time code jam menu. (702T &744T Only)
Button Lock Backlight and Tone
+ Press backlight then tone to lock all front panel buttons except for Record, Stop
and Play. FF and Rew are available in playback mode. Use backlight and tone
again to unlock the panel.
Input Mutes Input
Hold down and press soft buttons to mute inputs
Input Stop and Input
Routing + Hold down Stop and press INPUT to cycle through input routing presets. Last
preset will open the input routing menu to the custom route selection
Phantom #1 Tone and Menu
+ Toggles Input 1 phantom power. Phantom 1 & 2 are linked when Inputs 1 & 2
are linked.
Phantom #2 Tone and HDD
+ Toggles Input 2 phantom power
Low-cut #1 Backlight and Menu
+ Toggles Input 1 high-pass filter. Low-cuts 1 & 2 are linked when Inputs 1 & 2
are linked.
Low-cut #2 Backlight and HDD
+ Toggles Input 2 high-pass filter
Connect Stop and HDD
FireWire + Initiates FireWire connection if previously disconnected via an “eject” command
Take Status Stop and Backlight
Menu + Enters Take Status Menu. From this menu mark the last recorded take as
Circled or No Good
False Stop and Rewind
Take +
Delete last take prompt.

Increase Stop and Fast Forward
Take Increments take number to be recorded for next file
+
Take Stop and Play
List Take list and take status identifying screen
+
Toggle HDD
Drives Hold HDD button down for 1 second to toggle between viewable drives.
LED Level Backlight and Rotary Switch
+ Rotary Switch Adjusts level of LED brightness.
Flashlight Rewind and Play and Stop
Mode + + With the power off, hold down these buttons while powering the unit to enter
Flashlight mode. This illuminates all LEDs except for three. Press power again
to exit.

67


Connector Pin Assignments
Each connector type, electrical characteristics, and pin assignment is shown below.
Connector Pin Assignments Notes
XLR 1 – ground 7.5k ohm input impedance, mic level
(Analog Inputs) 2 – signal (+) 20k ohm input impedance, line level
3 – signal (-) active-balanced

XLR 1 – ground transformer-balanced, for use 110 ohm twisted-pair cabling,
(AES Inputs) 2 – signal (+) AES3 specification
3 – signal (–)

TA3M 1 – ground 120 ohm output impedance, active balanced.
Master Output Bus 2 – signal (+) For unbalanced connection, pin-1 ground, pin-2 hot, pin-3 not
3 – signal (–) connected. Mates with Switchcraft TA3F-type connector.

3.5 mm tip – signal L Master Output Bus signal in an unbalanced, consumer-elec-
Master Output Bus ring – signal R tronic level.
sleeve – signal ground
3.5 mm tip – signal L mates with 3.5 mm TRS jack.
Headphone ring – signal R
sleeve – signal ground
AES3id (S/PDIF) Input center pin – signal BNC female, unbalanced, coaxial connection, 75 ohm connec-
sleeve – ground tors recommended

AES3id (S/PDIF) Output center pin – signal BNC female, unbalanced, coaxial connection, 75 ohm connec-

Word Clock Input and Output center pin – signal BNC female, unbalanced, coaxial connection, 75 ohm connec-

FireWire (-1394) 6-pin cabling 6-pin male FireWire cable, provides bus power at 12 volts when
the unit is powered from external DC sources.

C. Link In / Out 1 – +3.3 V Not a telephone jack!
2 – Tx (output)
3 – ground
4 – Rx (input)
5 – WC in
6 – TC in
Hirose 4-pin 1 – ground
DC Input 2 – ground, same as pin-1
3 – DC (+) charge
4 – DC (+) operate

68


Speciﬁcations
System
Sampling Frequency internal: 32, 44.1, 47.952, 48, 48.048, 88.2, 96, 96.096, 176.4, 192 kHz
external: 32–192 kHz via word clock input
Internal Data Path and 32 bit, 192 dB dynamic range
Processing
A/D, D/A Converters 24 bit, 192 kHz sample rate maximum. A/D converters on socketed, field-upgradeable daughter board
A/D Dynamic Range 114 dB, A-weighted bandwidth
110 dB, 20 Hz – 22 kHz bandwidth
D/A Dynamic Range 112 dB, A-weighted bandwidth
108 dB, 20 Hz–22 kHz bandwidth
Metering 38-segment (2 x 19), sunlight-viewable
selectable peak, VU, or peak (with or without peak hold) with VU ballistics, variable brightness

Analog Input
(all measurements at Fs 96 kHz, 24 bit unless noted)

Frequency Response Mic or Line: 10 Hz–40 kHz, +0.1, −0.5 dB (gain controls centered)
Equivalent Input Noise Mic: −133 dBu max (−135 dBV), 50 ohm source, A-weighted filter
Mic: −131 dBu max (−133 dBV), 50 ohm source, 20 Hz–20 kHz BW flat filter, gain fully up
Mic: −130 dBu max (−132 dBV), 150 ohm source, A-weighted filter
Mic: −128 dBu max (−130 dBV), 150 ohm source, 20 Hz–20 kHz BW flat filter, gain fully up
THD + Noise Mic: 0.004% max (1 kHz, 22 Hz–22 kHz BW, gain control down, −15 dBu input)
Line: 0.004% max (1 kHz, 22 Hz–22 kHz BW, gain control down, +16 dBu input)
Gain Mic (normal gain mode): 24.3–67.4 dB
(input dBu to −20 dBFS) Mic (low gain mode): 9.3–52.4 dB
Mic (normal, fades to off gain mode): off (0)–67.4 dB
Mic (low, fades to off gain mode): off (0)–52.4 dB
Line: −6–18 dB, 0.1 dB increments
Input Impedance Mic: 7.5k ohm
Line: 20k ohm
Input Clipping Level Mic input: −5 dBu minimum (normal gain mode, gain control fully down)
Mic input: +10 dBu minimum (low gain mode, gain control fully down)
Line input: +26 dBu minimum (gain control fully down)
Input Topology Mic and Line: fully electronically balanced, RF, ESD, short, and overload protected; pin-2 hot, pin-3 cold

Gain Matching Line inputs: ±0.1 dB, channel-to-channel
Common Mode Rejection Mic: 40 dB minimum at 80 Hz
Ratio
High-Pass Filters 40, 80, 160, 240 Hz @ 12/18/24 dB/oct (all menu selectable)
Mic Powering 48 V phantom through 6.8k resistors, 10 mA per mic available, menu-selected per channel in mic or line level
(each XLR selectable) positions
Mic Input Limiters analog (pre-A/D converter), dual-stage optocoupler and FET,
−4 dBFS threshold, 20:1 limiting ratio, 5 mS attack time, 200 mS release time

Output Analog
Line Output Clipping Level +20 dBu minimum, 10k ohm load
Attenuation & Resolution 0–40 dB, 1 dB increments
Output Topology Line: fully electronically-balanced, RF, ESD, short, and overload protected; pin-2 driven hot, pin-3 driven
cold; let pin-3 float for unbalanced connections.

69


Inputs/Outputs – Digital
AES3-id 75 ohm, 0.5 V p-p, S/PDIF compatible with RCA adapter

Digital Storage
Internal hard drive SATA interface 2.5-in hard drive 4200–7200 RPM supported, FAT32 formatted,
up to 2 TB addressable
serial numbers below 471309092000 use
ATA-5 interface 1.8-in or 2.5-in hard drive 4200–7200 RPM supported, FAT32 formatted,
up to 2 TB addressable
CompactFlash CF type I, II, and + (microdrive) compatible, FAT32 formatted, up to 2 TB addressable
File Types WAV (AES-31 format), mono or polyphonic, at supported Fs, 24-bit or 16-bit
FLAC, (Free Lossless Audio Codec)
MP3 @ 32, 64, 96, 128, 160, 192, 256, or 320 kb/s stereo
MP2 @ 64, 96, 128, 160, 192, 256, or 320, 384 kb/s stereo
Utilities format and speed test for internal HD, CF, and external drive volumes

Data Transfer / Control
FireWire peripheral-mode, IEEE-1394a compliant, 6-pin FireWire, Windows 2000, XP, Vista, Mac OS X only
C. Link 6-wire modular input and output, RS-232 machine control, word clock, time code transfer (744T)

Powering
Internal Voltages ±16 VDC regulated audio rails
5 VDC data
3.3 VDC data
1.5 VDC DSP core
48 VDC phantom power
Power supply (batteries) operating cell, removable 7.2 V (nominal) Sony M- or L-type Li-ion, operational from 6–8 V
Power supply (external) 10–18 V, 1000 mA minimum, via locking 4-pin Hirose connector, use Hirose #HR10-7P-4P (DigiKey# HR100-
ND) for locking mating DC connector; pin-1 (−), pin-2 (−), pin-3 (+), pin-4 (+). See Powering section for
additional details

Environmental
Operation and Storage Ambient temperature 5–55° C,
Relative humidity (non-condensing) <80%

Other
LCD Display 202 x 32 pixels, extended temperature, backlit display
Tone Oscillator 100 Hz–10 kHz, variable output, assigned to tracks or outputs (menu-selectable)
Quick Setups Four factory presets, one user setup stored to CF or HD as data file

Dimensions and Weight
Size 45 mm x 209 mm x 125 mm (H x W x D)
1.8” x 8.2” x 4.9”
Mass unpackaged: 1.2 kg, (2.6 lbs) without battery

70


Accessories
Included Accessories
The accessories below are included with the 722:
• Universal In-Line Power Supply, 100–240 VAC input, 12 VDC, 45 W output (XL-WPH3)
• Li-ion removable rechargeable battery, 4600 mAh
• 3.5 mm to 1/4-inch jack for headphone output extension (XL-14)
• C. Link cable for unit-to-unit linking (XL-RJ)
• Padded man-bag (XL-MAN)
• FireWire Power conditioner (XL-1394)

Optional Accessories
The above accessories are just the start of building a flexible recording kit that can accommodate
multiple types of connections. Available accessories from Sound Devices include:
CL-1 Remote Control and Keyboard Interface used to control the 722 with an
external keyboard.

CS-3 Production case with high-quality strap for use with 302, 7-Series recorders
and MixPre; NP-type battery compartment and accessory pouch for
wireless. Built for Sound Devices by CamRade.

CS- MAN Convenient, padded carry/storage case with handles, handy to store
wallets, keys and mobile phones; handcrafted in China.
Wave Agent Beta WAV file librarian for Mac OS and Windows computers. Wave Agent
provides a comprehensive and indispensable range of tools for preparing
audio files for problem-free passage through complex production
workflows.

XL-1394 The XL-1394 Power Filter is used when connecting bus-powered disk
drives, DVD-RAM and hard drive, to the 7-Series recorders. The XL-1394
filters power supply noise generated by these consumer devices from
inducing noise into the analog preamplifiers of 7-Series recorders. The filter
is powered by the 7-Series
XL-1B TA3F to TA3F cable, used to connect the line outputs of the 722 to other
TA3 input sources, 12-inch.
XL-2 TA3F to XLR-M cable, used to connect analog outputs to third-party
devices with XLR-F inputs, 25-inch; package of two.
XL-B2 Removable, rechargeable, Li-ion battery; 7.2 V, 4600 mAh battery; good to
have several spares.
XL-4 Bag of four (4) TA3-F-type connectors.
XL-14 3.5 mm right-angle TRS to 1/4-inch female TRS for headphone extension,
12-inch.
XL-BNC BNC to BNC cable for word clock and AES3id interconnection, 24-inch.

71


XL-DVDRAM An external bus-powered FireWire DVD Multi-drive. Based on the slot-
loading Panasonic UJ-85 drive mechanism, the XL-DVDRAM is used with
a 7-Series recorder to record directly to optical disk or as a post-record
storage volume.

XL-H Bare Hirose 4-pin locking DC connector (HR10-7P-4P).
XL-LCD Protective, clear Lexan LCD cover for 7-Series Digital Recorders. Protects
the LCD glass from scratches and water. Kit of four covers.
XL-NPH NP-type battery cup with 24-inch cable terminated in Hirose 4-pin locking
DC connector (HR10-7P-4P) at equipment end.

XL-RJ RJ-12 to RJ-12 for C.Link to C.Link 702, 702T, 722, and 744T recorder
linking, 12-inch.
XL-SATA SATA Drive Interface provides an internal connection to 2.5-inch SATA
(Serial ATA) hard drives for 722 originally equipped with PATA / IDE
internal hard drives. Drive not included.
XL-WPH3 AC to DC Power Supply (in-line) 100 - 240V 50/60 Hz input, 12 VDC 3.75
A (45 W) output, Hirose 4-pin DC plug. Supplied with 3-pin IEC cord for
use in North America and Japan. It is always good to have a spare.

72


CE Declaration of Conformity
According to ISO/IEC Guide 22
Sound Devices, LLC
300 Wengel Drive
Reedsburg, WI 53959 USA
declares that the product, 722 Professional Digital Audio Recorder is in conformity with and passes:

89/336/EEC EMC Directive
EN55103-1, 1997 EMC-product family standard for audio, video, audio-
visual and entertainment lighting control apparatus for
professional use. Part 1: Emissions
EN55103-2, 1997 EMC-product family standard for audio, video, audio-
visual and entertainment lighting control apparatus for
professional use. Part 2: Immunity
EN55103-1 Phenomena 2, 3, Magnetic emissions at 1 meter 50 Hz – 50 kHz
1997
EN55103-2 Phenomena 3, 1997 Magnetic immunity 50 Hz to 10 kHz
CISPR 22 (EN55022) 2003 Radiated and conducted emissions, Class B
EN61000-4-2 (2001)/ ESD, ±4 kV contact, ±8 kV air discharge
IEC61000-4-2 (2001)
EN61000-4-3 (2001)/ Radiated RF immunity, 10 V/m, 80% 1 kHz amplitude
IEC1000-4-3 (2001) modulation
EN61000-4-4 (2001)/ AC power ports: EFT Burst, I/O lines, ±0.25 kV to ±1.0
IEC61000-4-4 (2001) kV, power line ±0.5 kB – ±1 kV
EN61000-4-4 (2001)/ EFT Burst, I/O lines, ±0.25 kV to ±1.0 kV, power line
IEC61000-4-4 (2001) ±0.5 kB – ±1 kV
EN61000-4-5 (2001)/ Surge ±1 kV differential mode (line-to-line), ±2 kV
IEC61000-4-5 (2001) common mode (line-to-ground)
EN61000-4-6 (2001)/ Conducted RF immunity, 3 V, 80% @1 kHz amplitude
IEC61000-4-6 (2001) modulation
EN61000-4-11 (2002)/ Voltage dips and short interruptions at test voltage
IEC61000-4-11(2001) level: 0% V unominal @ 70% V unominal @ 25 period

Tested by L. S. Compliance, Inc. Cedarburg, Wisconsin
November 19, 2004

Matthew Anderson
Director of Engineering
Sound Devices, LLC

73


Software License
End-user license agreement for Sound Devices 7-Series Embedded Software / Firmware
Important Read carefully: This Sound Devices, LLC end-user license agreement (“EULA”) is a legal agreement between you (either
an individual or a single entity) and Sound Devices, LLC for the Sound Devices, LLC software product identified above, which includes
computer software, embedded software, and may include associated media, printed materials, and “online” or electronic documentation
(“SOFTWARE PRODUCT”). By using, installing, or copying the SOFTWARE PRODUCT, you agree to be bound by the terms of this
EULA. If you do not agree to the terms of this EULA, do not use or install the SOFTWARE PRODUCT.
Software Product License
The SOFTWARE PRODUCT is protected by copyright laws and international copyright treaties, as well as other intellectual property laws
and treaties. The SOFTWARE PRODUCT is licensed, not sold.
Grant of license. This EULA grants you the following limited, non-exclusive rights: In consideration of payment of the licensee fee, Sound
Devices, LLC, as licensor, grants to you, the licensee, a non-exclusive right to use this copy of a Sound Devices, LLC software program
(hereinafter the “SOFTWARE”) on a single product and/or computer. All rights not expressly granted to licensee are reserved to Sound
Devices, LLC.
Software ownership. As the licensee, you own the hardware on which the SOFTWARE is recorded or fixed. Sound Devices, LLC shall
retain full and complete title to the SOFTWARE and all subsequent copies of the SOFTWARE, regardless of the media or form on or in
which the original copies may exist. The license is not a sale of the original SOFTWARE.
Copyright. All rights, title, and copyrights in and to the SOFTWARE PRODUCT (including, but not limited to, any images, photographs,
animations, video, audio, music, text, and “applets” incorporated into the SOFTWARE PRODUCT) and any copies of the SOFTWARE
PRODUCT are owned by Sound Devices, LLC or its suppliers. The SOFTWARE PRODUCT is protected by copyright laws and interna-
tional treaty provisions. Therefore, you must treat the SOFTWARE PRODUCT like any other copyrighted material, except that you may
make copies as only provided below. You may not copy the printed materials accompanying the SOFTWARE PRODUCT.
Restrictions on use. Licensee may not distribute copies of the SOFTWARE or accompanying materials to others. Licensee may not
modify, adapt, translate, reverse engineer, decompile, disassemble, or create derivative works based on the SOFTWARE or its accompa-
nying printed or written materials.
Transfer restrictions. Licensee shall not assign, rent, lease, sell, sublicense, or otherwise transfer the SOFTWARE to another party with-
out prior written consent of Sound Devices, LLC. Any party authorized by Sound Devices, LLC to receive the SOFTWARE must agree to
be bound by the terms and conditions of this agreement.
Termination. Without prejudice to any other rights, Sound Devices, LLC may terminate this EULA if you fail to comply with the terms and
conditions of this EULA. In such event, you must destroy all copies of the SOFTWARE PRODUCT and all of its component parts.
Limited Warranty
No warranties. Sound Devices, LLC expressly disclaims any warranty for the SOFTWARE PRODUCT. The SOFTWARE PRODUCT and
any related documentation is provided “as is” without warranty or condition of any kind, either express or implied, including, without limita-
tion, the implied warranties and conditions of merchantability, fitness for a particular purpose, or non-infringement. The entire risk arising
out of use or performance of the SOFTWARE PRODUCT remains with you.
No liability for damages. In no event shall Sound Devices, LLC or its suppliers be liable for any damages whatsoever (including, without
limitation, damages for loss of business profits, business interruption, loss of business information, or any other pecuniary loss) arising
out of the use of or inability to use this Sound Devices, LLC product, even if Sound Devices, LLC has been advised of the possibility of
such damages. In any case, Sound Devices, LLC’s entire liability under any provision of this evaluation license shall be limited to the
greater of the amount actually paid by you for the SOFTWARE PRODUCT or U.S. $5.00. Because some states/jurisdictions do not allow
the exclusion or limitation of liability for consequential or incidental damages, the above limitation may not apply to you.
Governing Law
This agreement and limited warranty are governed by the laws of the state of Wisconsin. Warranty and Technical Support

74


Warranty
Sound Devices, LLC warrants the 722 Portable Audio Recorder against defects in materials and
workmanship for a period of ONE (1) year from date of original retail purchase. This is a non-
transferable warranty that extends only to the original purchaser. Sound Devices, LLC will repair or
replace the product at its discretion at no charge. Warranty claims due to severe service conditions
will be addressed on an individual basis. THE WARRANTY AND REMEDIES SET FORTH ABOVE
ARE EXCLUSIVE. SOUND DEVICES, LLC DISCLAIMS ALL OTHER WARRANTIES, EXPRESS OR
IMPLIED, INCLUDING WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICU-
LAR PURPOSE. SOUND DEVICES, LLC IS NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR
CONSEQUENTIAL DAMAGES ARISING FROM ANY BREACH OF WARRANTY OR UNDER ANY
OTHER LEGAL THEORY. Because some jurisdictions do not permit the exclusion or limitations set
forth above, they may not apply in all cases.
For all service, including warranty repair, please contact Sound Devices for an RMA (return mer-
chandise authorization). Product returned without an RMA number may experience delays in repair.
Sound Devices, LLC
Service Repair RMA #XXXXX
300 Wengel Drive
Reedsburg, WI 53959 USA
telephone: (608) 524-0625

Technical Support/Bug Reports
For technical support and bug reporting on all Sound Devices products contact:
Sound Devices, LLC
E-mail: support@sounddevices.com
web: www.sounddevices.com/contact_support.htm
Telephone: +1 (608) 524-0625 / Toll-Free in the U.S.A.: (800) 505-0625
Fax: +1 (608) 524-0655
Sound Devices hosts a support forum for 7-Series recorders. The URL is:
http://forums.sounddevices.com
Sound Devices cannot guarantee that a given computer, software, or operating system conﬁgura-
tion can be used satisfactorily with the 722 based exclusively on the fact that it meets our minimum
system requirements.
Please check with your software editing application to make certain that it is compatible with the ﬁle
type selected.

75

722 rev. 2.65 - Printed in U.S.A.

Sound Devices 722

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